Elevating the Mundane

‍Why did you decide to focus your work on rallying against consumerism and waste?

My decision came from observing the environmental and social impact of unchecked consumption. In Vietnam, like many other places, there's been a growing shift towards mass-produced, disposable products. These items often prioritise convenience over quality, and once they outlive their short lifespan, they become part of a mounting pile of waste. This cycle of waste is deeply troubling to me, not only because of its environmental impact but also because it disconnects people from the value and longevity of the objects they own.

I believe design has a powerful role to play in reversing this trend. By creating products that are made from recycled or sustainable materials, designed to last, and adaptable to individual preferences, I want to challenge the throwaway culture. I want people to see their belongings not as temporary conveniences, but as things that can evolve with them over time.

It's about creating a mindset shift, too – encouraging people to rethink their relationship with the objects in their lives, to choose more thoughtfully, and to embrace a more sustainable and mindful way of living. My work is rooted in this philosophy, and I hope that through design, I can inspire others to reject wasteful consumerism and move towards a more circular, conscious approach to what they own and use.

Have you always been a tinkerer? Did you like to make things from found objects as a child?

It's funny but true that I could "fix" our TV remote when I was in second or third grade. Whenever it stopped working properly, I would take it apart, put it back together, or even just smack it against my hand a few times – and it would start working again! But before that, I used to cheat on my craft assignments by getting my mum and sister to help, because I was quite clumsy with my hands.

It wasn't until middle school that I really became a tinkerer, both online and in the physical world. Now, I'm still a bit clumsy, but my hands have developed a kind of muscle memory through constant practice. The more I work with my hands, the better they remember what to do. So, while I wasn't always naturally good at making things, over time, I've learned to embrace it through curiosity and persistence.

I want to challenge the throwaway culture. I want people to see their belongings not as temporary conveniences, but as things that can evolve with them over time.‍

What's the design scene like in Vietnam?

The field of product design, especially in the contemporary sense, is still relatively underdeveloped or undervalued compared to other industries. There are several reasons for this.

Firstly, Vietnam's economy has traditionally been focused on manufacturing, production, and export, rather than design and innovation. The emphasis has been more on producing goods for international brands rather than creating locally designed products. As a result, the infrastructure and resources for nurturing homegrown design talent haven't fully matured.

Secondly, design as a profession is often misunderstood or overlooked in Vietnam. While there is a long history of craft and traditional artistry, modern product design – where function, aesthetics, and user experience come together in innovative ways – is not widely seen as essential. Many people still view design as purely decorative, not as something that shapes everyday life or contributes to problem-solving.

Another factor is the educational system, which has limited programs and institutions dedicated to teaching product design at a high level. This lack of formal training opportunities makes it harder for young designers to pursue careers in the field, and as a result, many move to other areas like graphic design or advertising where there is more recognition and demand.

However, I do see this beginning to change. There's a growing awareness, especially among younger generations, about the value of design in shaping the future, and with more exposure to global trends, there's a budding appreciation for locally designed, sustainable products. I hope this evolution will continue, and that product design in Vietnam will become more recognised as an essential and influential practice.

How does all of this relate to setting up Ném Space and what you're seeking to achieve?

When I founded Ném Space, I envisioned a space for the product design community in Vietnam, where I could curate designs that aligned with my spirit to display and introduce here. However, the truth is, I could only find a few interesting items to put into the space.

After that, I continuously held DIY product design workshops in my small studio at Ném, aiming to spark curiosity and enthusiasm for design practices among young people here. The curiosity and observations from others might be the most important thing I achieve out of creating Ném Space.

What is Ném Space and what could I expect to see and experience if I came to visit?

At the end of December 2022, I organised an event called Cửa Mở (Door Open) at my home, which was also my studio at the time. I welcomed anyone who wanted to come and see what I had created and was working on, read my personal book collection, and share meals with me.

Those were three beautiful days when I look back on them. Ném Space was also inspired by those three days. Initially, I called this place a café to make it more approachable because, as I mentioned, product design, especially interior decoration, is still in its early stages here, while the café market is already very lively.

Ném is a space for experiences, with its main idea coming from those three open-studio days. I open the doors to anyone who wants to visit Ném on weekdays to see my products from the concept stage to completion. Everything is open. Here, we also organise events centred around design, art, and community. You might come here for a cup of coffee but leave with a new lamp, or vice versa…

Who comes to visit Ném Space?

At Ném Space, we welcome a diverse range of visitors, from design enthusiasts and creative professionals to everyday people curious about the intersection of art, design and craft. Many of our visitors are drawn to the space because they resonate with the idea of celebrating the beauty of the ordinary – whether it's through objects and furniture, or installations that highlight sustainability, local culture and individuality.

Design students and young creators also frequently visit to engage with our philosophy and find inspiration in the way we approach design as a lifestyle. Entrepreneurs, architects, and fellow designers often come by to explore collaborations or simply to exchange ideas about contemporary design challenges and innovations. Additionally, local community members come to experience how traditional craftsmanship and modern design coexist, and how these elements can shape a meaningful space.

In essence, Ném Space attracts people who are not only interested in design but also those who appreciate thoughtful living and value the connection between creativity and everyday life.

Your current projects are centred in improving the relationship between objects and humans. Where have we gone wrong?

It seems like I could write an entire book in response to this question!

Honestly, I'm not sure exactly where or when we went wrong, but I do know that the relationship between people and objects is no longer as good as it used to be. In our busy modern lives, we're demanding too much from objects. Add to that the influence of social media, which has made owning something feel a bit too easy.

At one point, I thought it might be because of pricing, but after thinking it over, many people can use a cheap item for their entire lives without needing a new, improved product. But don't equate this with a country's or market's lack of development.

I also think people today don't respect objects as much as they used to, both in terms of production and use. This is evident in both developing and developed countries, where the lifecycle of a product with a user is shorter than ever because thousands of new designs are mass-produced every day. I recall fashion designer Martin Margiela once shared: "with the worldwide increasing pressure and the overgrowing demands of trade... I also regretted the overdose of information carried by social media, destroying the 'thrill of wait' and cancelling every effect of surprise."

I think this applies across all design fields, including architecture and construction.

You appear to draw a great deal of inspiration from your local context. Tell us about this relationship and the role it plays in your work creatively.

My creative journey is deeply intertwined with the everyday lives, objects, and experiences of the people around me. The local context is a treasure trove of inspiration, rich with the stories and nuances that often go unnoticed. I am fascinated by the ordinary – things that are familiar, unremarkable to most, yet profoundly meaningful when observed closely.

In my work, I aim to elevate the mundane, to bring a certain poetry to it. I believe that beauty is not limited to grand gestures or monumental events, but rather exists in the smallest of details – whether it's a well-worn tool, a street vendor's cart, or the way sunlight filters through a bamboo blind. These everyday moments carry a kind of quiet dignity, and I strive to honour them through my creations.

By celebrating the simplicity of daily life, I feel connected to my community and its rhythms. The objects and people around me become part of a larger narrative about identity, memory, and place. In a way, my art becomes a form of documentation, preserving these fleeting moments and giving them a sense of permanence.

This relationship with the local context is not just about representation, it's about interaction. I am not merely an observer but a participant, and this active engagement shapes my perspective. My work is an extension of my environment – a reflection of the shared experiences, values, and history that define my home.

Which of your products best exemplifies your practice as a designer?

I would say the Phẳng Polarized Film Lamp. This product encapsulates my approach to design in several ways. First, it reflects my commitment to sustainability, as it is made from recycled materials. The choice to use these materials isn't just a nod to environmental consciousness, it's also a statement about finding beauty and purpose in what might otherwise be discarded.

Second, the lamp is designed to be customisable, allowing users to express their individuality. I believe design should empower people to engage with the objects they own, to make them personal and reflective of their unique style. This is why the Phẳng Lamp was created with flexibility in mind – each owner can shape it to their preferences.

Ultimately, the Phẳng Polarized Film Lamp embodies both the practical and philosophical aspects of my design practice. It blends functionality with a deeper narrative about sustainability, individuality and the role of design in everyday life.

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