Interviews with Khoi Tran Nguyen Bao

I chose to become a designer because of my childhood interest in drawing. After graduating from high school, I began to study art professionally at a college and later studied design at university. Emotion spring up when I look at something cool and wonder if I could create such things, drove me to be a designer. The desire to create something interesting, useful is my originally motivation for me to follow this profession.

I think in any field of artistic creation, there should be a central theme that drives your mind and emotions during the working process. When I design, I try to come up with as many options as possible, draw my thoughts quickly with a pencil. I do not try to use digital tools to express perfectly sketches. What I and my clients want is the design renderings created by the 2d or 3d softwares are done in a short time; if something is selected, we will correct the problems as required and complete on computer. Mock up also physical models are built for the most intuitive evaluation. I approach a new project through intermediary.

Feeling of freedom and a bit of challenge are the emotions I get when design a product or project. I think every phase of the design has its own unique vibe. Like when you travel to a foreign land, there is ambiguity, excitement, sometimes a bit of disappointment and hope again..But overall you always have to be optimistic and feel everything exciting despite difficulties to complete the journey. Being in dialogue with myself is what I like most when focus designing. The design process also helps me speak my mind and learn a lot through debate. Sense of happiness is created when I am more mature in my career.

I think some of them are presentation skill, quick reflexes, analysis and observation. They are important because they help me understand people's psychology and communicate with them better. Karl Lagerfeld is one of my biggest idols, I love his creativity and persistent energy. My design journey has been quite stable, I am happy because of some accomplishments that I had dreamed have made, but I realize it takes a lot more effort.

That is the refinement of design language. I especially want to portray the distinctive beauty of the river region through the simplest possible design.

I will commission a reputable furniture factory to make it real. Thereby, I will find the optimal way to produce and develop my artwork. There will be a small adjustment in the size but that makes the product more complete. Besides, I am designing a furniture collection go with "Mekong". Of course, they have the same theme.

Two days.

I see a sketch in my notebook that i drew a few months ago by chance. It pretty rudimentary but reminded me of a boat slowly approaching with the waves of water patting softly. The Mekong River came to me, I wanted to turn it into a complete design.

I commissioned a large furniture company in Vietnam to produce the real sample. I hope to get suitable suggestions.

That is my love for my homeland.

I learn a lot from Western designers. But I don't want to be influenced too much by one person's style.

Those are people with personalities and not easily satisfied.

The contiguity.

When designing this artwork, I thought about the wooden boats, the idyllic life in Mekong Delta- the land of nine dragons. "Mekong" is the name of the great river known to the world, passing through that land.

3D Rhinoceros, Photoshop.

It has local characteristic, but also commercial.

I work independently in the concept design process.

It helps me to process difficult parts of the product.

I view new designs around the world everyday. But I try to keep from obsessing over too much. When making this design, I listen the rhythm of contemporary design trends and combine with my own idea. The 4P principle marketing is one of my favorite research methods for new products.

The biggest challenge was to keep things succinct but still express my idea.

The dream of winning an international design competition has always been my big desire. I think I should boldly attend and do my best. One finds freedom in mind through courage.

I reinforce the overall perception of a design, moderating unnecessary and cumbersome details. I also learned new woodworking techniques.

No, I think it's enough. Thank you for your interview.

To free my thoughts. My interest in drawing from childhood has led me to design profession.

Previously, I used to design industrial products such as: transport, lighting, home appliances, pedicure spa..Now, I want to focus on furniture field.

Hard working, listening, keep optimism.

Based on how people perceive and position their products. A good designer brings a good product, a great designer brings a story, I think so.

A really good design: No need to change anything anymore.. I evaluate a good design depends on customer satisfaction.

That is the benefit it brings to its users. Everyone invest in good design because of its potential, a good design goes a long way.

For those I find interesting.

It is ahead. But I don't think too much about it, I try my best in any project I design, always remember the achievements.

Thinking coherently, persistence, work hard, read a lot. view a lot, always find opportunities.

I learn quiet many from design myths from fashion to product design, architecture and interior. I admire the constant working of Karl Lagerfeld, the utmost sophistication in his design; the crazy of John Galliano. Quasar Khanh, Philippe Starck, Karim Rhasid, Zaha Hadid..are also legends that their freedom in creativity, the mixing of science and artistic inspired me.

I like Louis Ghost Chair of Philippe Starck, B306 of Le Corbusier's studio, The Animal Chair by Máximo Riera..They teach me how a beautiful structure, the unique thinking about using material, shapes..

That is the Nervure Chair in cast alluminum furniture line of Quasar Khanh. It is a love poem, a perfect simulation from nature with beautiful lines and superb craftmanship.

Practive.

I will open a small bookstore, serving coffee too.

Design is a game of thinking. You do not want someome to give you a complete set of instructions from start to end like the installation guide of a Ikea's table.

My family. I love them.

I think I am not a great designer yet. What helps me improve is effort and curiousity.

There are always obstacles on your way such as getting used to new technologies, skills and things in life that govern your work. Thinking that you are already a design master will be a burden to the creative process. Be carefree like the kids.

Talk less, do more. Try to show the best possible.

That is still furniture. The wood processing and furniture manufacturing industry in Vietnam is growing fast and stably. So designers like us have a lot of work to do. I am working hard to introduce better products in the future.

Is to contribute to making life more meaningful in my own way.

What will the world look like?

The starting point of the design is the problem. The more well-solved problems, the better society is.

The furniture items really suit the people, climate and culture of Vietnam.

These are things that I feel are more special than anything I have designed, and they also get good feedback from clients. Mekong Writing Desk is the project I am most proud of ever. It makes the dream "A' Design Award& Competition" come true.

Minimize pollution to the environment, especially water sources. Every product that is no longer in use is completely recyclable. I wish one day, a commodity would be discharged. a tree would be planted.

Inventions in technology and materials.

It depends on the size of the project.

Doing projects is my daily work.

Don't rush, calm down and enjoy. Don't turn yourself nto a printer.

A trend can originate from any event, sometimes it is accidental.

Suggestions.

The softwares support 2D graphics and 3D modelling.

That is the ingredients to make a delicious cake.

I like detailed questions, especially prices. (laugh)

Its designer is admirable.

Who support my limitations. I believe, as long as the specific work of each person clearly defined.

People with objective thoughts.

There are some books I love that affect me. "What is product design?" by Laura Slack, "Bauhaus" by Magdalena Droste..are examples.

Always learning. Observing, analyzing and drawing should be a habit.

Karl Lagerfeld.

I appreciate the achievements I had. I do not think much about the famous because the world is moving so fast and there is a lot to do.

Color: Emerald Green. Place: Saigon. Food: banh mi (Vietnamese Baguette). Season: Winter. Thing: LC4 Chair. Brand: Cassina.

In 2014, I displayed an outdoor relaxing chair, its shape resembles a Vietnamese national musical instrument. People were afraid and did not want to try until I sat comfortably, they laughed a lot.

That is thinking about pre-bed ideas and wanting the morning comes quickly to draw those ideas. The desire to create something new or improve my skills are the ways I motivate myself.

When I was a child, the internet wasn't quite as developed as it is now. I realized that I was able to draw and just care for those premitive works. As I get older with more information, I define what a designer is like and learn to be a designer. But with the title of great designer, instead of always thinking that sweetness, I try to do jobs better yesterday and make the right decisions.

The future will be very difficult. People are more and more afraid climate change. They are also too fed up with the huge amount of waste that is released every day. In a hundred years, I see a dark grey color filled with garbage, human greed and impasse. But I also see a green color when people know enough, realizing that luxury matter is not as valuable as napping under green trees. Nature will be harsher but human will adapt. Each product produced will be assessed as rigorously as possible and environmental protection values are higher than the cost.

I wish when they travel to Vietnam, see the peaceful countryside along the Mekong River, they will remember my "wooden boat", of a designer who constantly strives to make better works.

At present, I do not own a company or a design studio. I am working full time for a big Vietnamese furniture brand.

For me, "design" is the way to solve a problem.

I like product design most, especially designs that need their own personality.

There are a few projects I have designed that make me more satisfied than others, a white massage chair designed for the US market is an example. It has furturistic style. It received good feedback from manufacturer and customer.

It's an outdoor furniture collection I designed when I was a student. It gave me a first trip abroad, expanding my design mindset.

I love wood, glossy metal, eco- friendly materials...

When I am optimistic.

Impressive first look, novel details and usability of the product .

The excitement and a bit of a rush. I try to catch emotions as quickly as possible.

So very happy.

The value it gives to life.

I consider first whether its appearance and functions are suitable for design purpose? Could it bring satisfaction to user?; and its commerciality.

Those are questions that must be given frequently: how to meet customer expectations for products, but the production process is limited in harm to the environment.

I think the "design field" is evolving in a way that is closer to the needs of people than ever before. It increasingly understand the psychology and problems of consumers. The future of design is smart products, more friendly to the environment.

It was 2 years ago at the international fair Vifa Home 2018 in Ho Chi Minh City, Vietnam. Whether or not my next exhibition will happen depends on whether I can create good designs anymore.

They come from the interesting things I suddenly discovered in life. Reading, drawing, art research; having fun with everyone is how I feed my creativity. My sources of inspirations are curiosity, like to make things different.

My design style is aimed at modernity, keeping things as simple but efficient as possible. I like the quote "Less is more". Main characteristics of my style is to combine smooth and coherent lines, eliminating the extra details. My approach to design comes from observing contemporary problems in life and the market research.

I live in Ho Chi Minh city, Vietnam. The heritage in my country is not in grandiose architecture or lavish festivals..that is a harmonious combination of cultures living together on an S-shaped territory. I want to incorporate those specific characteristics into meaningful designs. The pros during designing as a result of living in each country is that brings uniqueness to the work and the cons is that I can not leave those features intact, I have to adjust to fit the general design trend in the world.

I work full time.

Let designers try their best, don't put too many restrictions in the beginning, do not too urge them. And most importantly, encourage them. I am not sure how can companies select a good designer, as long as good designers match their needs.

It is like the design process of other designers: Read carefully the design requirements, refer to the new design trends, express ideas by hand sketches or computer. Continuous exchange with customers and technicians, make prototype until the production process is formed and running.

I use furniture and decoration designed by myself at home. They're not perfect yet, but I love them: a lounge chair, bookshelf, a bench, working desk and a tea set.

I wake up at 4 a.m. to go to work. Busy goes with me until 4 p.m. A "ca phe da" (Vietnamese traditional coffee) cup on the sidewalk brings to me a little relaxtion after work then going back home to cook dinner. Before sleep, I spend my time on private projects, research or reading.

Hard working, listening and keep the optimism.

Positives: Have wide knowledge base from culture to technology, an interesting personality.
Negative: Sometimes the work will follow into sleep.

That's the golden ratio application by my way.

Independent thinking and communication skills.

I use some software as Rhinoceros, Photoshop, Illustrator, Auto Cad..for work.
I collect books about art and technology, sometimes they are sources of my inspiration.

I prioritize what can be done first.

It depends on the size of the project.

"Can I see it sooner?" (lol)

Every environment I work in, every project I get gives me different experiences, so it's hard to say which is the most important.

They are manufacturing businesses that need to buy external designs for their plans.

Product design. Because through each project, I learn more lots of knowledge from materials, technology..to human psychology.

I still work in furniture industry and expanding the design scope. The next is a new furniture collection that is reminiscent of Saigon old time.

In daily work, I work as team. For individual projects, I develope my designs myself.

Yes, I'm designing a furniture collection based on "Mekong" idea.

They can contact me by my email: khoitran5490@gmail.com. I thank for all attention.

These questions are enough and OK.

The Mekong River originates from the majestic Tibetan Plateau, carrying layers of fertile alluvium—the most generous gift nature offers to every land it touches. By the time it reaches the Delta, the river slows and its warm brown-yellow silt dissolves into daily life: in the tones of the "ao ba ba" (a traditional Southern Vietnamese garment), in the earth, and in the orchards it nourishes. Black provides a meaningful counterpoint to this palette. In Asian cosmology it represents the Water element, and in Southern Vietnam it recalls the small checkered patterns of the "khan ran" (a practical yet iconic scarf) worn by farmers along the riverbanks. This palette becomes a tactile tribute to the Mekong’s soul. Natural wood captures the warmth and earthiness of silt-laden waters and the hues of the ao ba ba. Leather evokes the resilience and weathered beauty of local craftsmanship, while fine metal details introduce a refined strength that subtly echoes the Water element’s depth and flow. Together, these materials form a dialogue between the river’s raw heritage and the precision of contemporary design—much like the khan ran, which balances everyday simplicity with a distinctive cultural pattern.

There are countless stories about the Mekong Delta—where the Nine Dragons meet before merging into the vast ocean. From legends of river spirits lurking in the deep waters to tales of farmers who reclaimed the land, and from humble wooden boats carrying livelihoods to the symbolic “boat eyes” painted to protect people from raging waves, the Delta holds an incredibly layered cultural identity. When designing the Mekong Writing Desk, my challenge was to translate this cultural richness into a minimalist language without losing its spirit. That meant consciously avoiding literal ornamentation and instead identifying the underlying emotional qualities that could be distilled into form. The rounded tabletop corners reference the softness of water flow; the apron subtly echoes the bow of a boat; and the structural stretchers provide strength while evoking the atmosphere of riverside shipyards. This reduction process was also essential for commercial viability. A minimalist form ensures timeless appeal, compatibility with modern interiors, efficient production, and scalability across different markets. In the end, the desk maintains a quiet cultural imprint—recognizable to those familiar with the Delta, yet universal enough for contemporary living.

In my opinion, the interplay of contrasting elements always creates a compelling sense of attraction. When everything becomes too uniform or repetitive, the liveliness and creative spirit of an experience can feel diminished. This dynamic is also present in the cultural fabric of the Mekong Delta, where different traditions naturally blend—from bowls of bun nuoc leo enriched with the salty depth of fish sauce to old mansions where Vietnamese vernacular details coexist with Beaux-Arts influences. I vividly recall sitting on a boat in the Can Tho floating market, watching golden morning light dance across the waves and stretch into shimmering lines against the rough wooden hull. That moment revealed to me how the contrast between light and wood can create a powerful emotional resonance. The gold-plated tray draws directly from that memory. Its subtle gleam introduces a contemporary sophistication that balances the raw texture of wood and the warmth of leather. Functionally, it offers a clean, durable surface for small daily objects; philosophically, it reflects my belief that traditional craftsmanship and modern sensibilities can coexist—not by competing, but by elevating one another.

Creative ideas sometimes come to us suddenly, sparking both exhilaration and reflection. They remind me of Monet’s way of layering gentle brushstrokes—building depth through restraint rather than excess. I see industrial design in a similar way: emotion and intuition must gradually be refined through the constraints of scale and manufacturability. With the Mekong Writing Desk, my intention was to preserve the authentic essence of traditional wooden boats—not through exaggerated forms or decorative motifs, but through a subtle, distilled interpretation. I translated the boat’s character into controlled curves, clean structural lines, and a level of symbolism that could be consistently reproduced with modern machining and standard components. This approach allowed the design to maintain its cultural soul while remaining highly functional, stable, and suitable for mass production. In this sense, balancing intuitive emotion with rational structure—and embracing ‘less is more’—became the guiding principle of the project.

I designed the Mekong Writing Desk with a generous 800 mm tabletop depth to comfortably accommodate modern devices and contemporary working habits. The 762 mm height follows ergonomic standards for long working hours, ensuring proper posture and usability for a wide range of users. Within this collection, I introduced two additional sizes—1600 × 660 × 760 mm and 1820 × 750 × 760 mm—characterized by a narrower depth and a wider span. These elongated proportions subtly reference the silhouette of traditional wooden boats along the Mekong River, creating a sense of visual flow and lightness while maintaining an efficient and functional workspace. In this way, the proportions serve both ergonomic comfort and my artistic intention to echo the calm, horizontal geometry of river life.

In my view, wisdom and focus are not innate qualities but virtues cultivated through discipline, awareness, and the refinement of thought. Much like a boat captain navigating a river, the desk user must remain attentive, composed, and capable of making clear decisions amid complexity. This metaphor became a quiet guide throughout the design process of the Mekong Writing Desk. It led me to prioritize clarity and purpose over excess. The tabletop is kept smooth, warm, and visually calm, with gently rounded corners that support prolonged, undistracted work. The drawers are sized for only essential items, encouraging intentional organization rather than accumulation. The four-legged solid wood structure provides a grounded, stable presence, while the generous open space beneath the desk offers both physical comfort and a sense of mental openness. By reducing decorative elements and eliminating unnecessary features, the desk functions as a quiet companion—supporting steadiness, focus, and a clear state of mind, much like the calm required at the helm of a boat.

From the outset, I aimed to preserve the Mekong Writing Desk as a structurally unified piece rather than a collection of detachable components. The use of solid wood legs and mortise-and-tenon joinery naturally supports long-term stability and expresses the design’s commitment to craftsmanship. When addressing shipping requirements, I developed two controlled logistics strategies that allow flexibility without altering the desk’s core construction. For smaller or premium orders, the desk is shipped fully assembled, with only non-structural elements—such as the front panel—removed for protection. For larger-scale or long-distance shipments, a modular strategy allows the legs, stretcher, and body to be separated under factory supervision, to be reassembled by trained craftsmen at the partner workshop following precise guidelines. The experience of the end user remains unchanged: they receive a fully assembled, structurally sound desk. In this way, logistical constraints did not shape the design itself; instead, they informed a delivery system that safeguards both the desk’s integrity and its creative intent.

I envision my future practice as a living notebook—continuously collecting sketches, observations, and subtle cultural impressions from the places and communities I encounter. From these fragments, I aim to translate cultural narratives into contemporary furniture by distilling them into form, proportion, and material expression rather than literal motifs. While each project may vary in scale or market, my approach remains consistent: to develop designs that respectfully interpret local identities and invite users to feel a sense of connection and shared understanding. In this way, cultural storytelling becomes not a theme, but an evolving design methodology that grows with every new experience.

Through the Mekong Writing Desk, I learned that cultural identity in modern furniture design is preserved not through literal motifs, but through the quiet transmission of values and craft. The project showed me that a piece of furniture can become more than a functional object—it can be a companion that carries cultural memory. It also made me aware of the necessity of creating diversity in a world that tends toward uniformity. Traditional craftsmanship, whether expressed through Dutchman joinery or woven structures inspired by ethnic techniques in Southeast Asia, offers a subtle yet powerful way to keep cultural layers alive. For me, the key insight is the responsibility to honor these identities and integrate them thoughtfully into contemporary forms.