Vietnam Interior & Architecture Trends 2026–2030 - Interview with Wesley Liu

The expert seminar “Vietnam Interior & Architecture Trends 2026–2030” took place at Lotte Hotel Hanoi, drawing significant attention from industry professionals, businesses, architects, and designers both domestically and internationally. This event also marked the official launch of Trend 26+ — the first trend publication dedicated to Vietnam’s interior design industry, an initiative by three pioneering brands in interior materials and accessories: Minh Long Wood, Viglacera, and Huy Hoang Locks. The publication is professionally endorsed by the Vietnam Interior Design Association and the Vietnam Association of Architects, with Architecture Magazine serving as the media sponsor. The event also welcomed representatives from WGSN (the global trend forecasting organization) and APSDA (Asia-Pacific Space Designers Association).

“Vietnam Interior & Architecture Trends 2026–2030”: A Multi-dimensional Dialogue on Vietnamese Interior Identity

As part of the launch series for Trend 26+, this seminar brought together leading experts in architecture and interior design to analyze and forecast major design trends for Vietnam over the next five years. The conversation extended from the global context, highlighting major shifts affecting society, aesthetic preferences, and consumer psychology around the world, while also offering practical insights from across the Asia-Pacific region — where many countries are striving to assert strong local identities in design.

Interior Designer Wesley Liu - Founder of PplusP Creations, PhD Candidate at RMIT University (Australia) - shared the following during an exclusive interview:

Interior Designer Wesley Liu at the seminar “Vietnam Interior & Architecture Trends 2026–2030”

In Trend 26+, you used the concept of a “methodology” rather than a “style” when referring to Hong Kong’s design identity. With your design experience in Hong Kong and in the current context of globalization, what core principles within this methodology can serve as lessons for designers in the region?

Hong Kong has long been recognized as one of the most international cities globally, attracting top talents from around the world despite its relatively small size. This international presence contributes significantly to our cultural diversity and intersectionality. Hong Kong uniquely blends a deep-rooted Chinese heritage with various Western influences, creating constant encounters with contradictions and challenges. Such continuous exposure compels us to cultivate adaptability and flexibility as our core methodology. However, this methodology is inherently local and cannot simply be replicated elsewhere. Just as individuals possess unique qualities, each city or region should embrace its distinct characteristics to shine authentically rather than imitating others. It is essential for designers to clearly understand and confidently embrace their cultural roots, using contemporary perspectives to reinterpret and preserve their cultural essence. Preservation, importantly, does not mean stagnation; the objective is to retain core values while allowing evolution.

Could you please elaborate on the concept of “tacit knowledge” in design — the kind of knowledge that does not come from books? How does this tacit knowledge operate in the creation of contemporary spaces, especially as the boundaries between culture, geography, and aesthetics become increasingly blurred? Could you share a specific example from your design process where tacit knowledge played a decisive role?

The concept of "tacit knowledge" I refer to might differ from common perceptions. To me, tacit knowledge embodies the personal, intuitive ways each designer thinks and acts, informed by instinct and sensory perception rather than explicit academic study. Designers often act intuitively and spontaneously, which may sometimes lack thorough reflection compared to architects who generally emphasize logical and analytical thinking. If designers could integrate reflective analysis more rigorously into their intuitive processes, I believe the logic and impact of their work would strengthen significantly. My own projects prominently reflect this tacit knowledge, although I am still exploring its deeper origins. At this stage, my understanding remains somewhat ambiguous, but I aim to clarify and elaborate on this further upon completing my PhD research.

Tai Kwun, a project by Herzog & de Meuron.

How can cultural fusion avoid becoming cultural appropriation or mere copying in creative spaces, so that Hong Kong does not become a diluted version of other countries’ cultures?

The distinction between copying and transformation is inherently clear: copying involves straightforward duplication, whereas transformation implies a thoughtful, deliberate process. The crucial factor lies in the intellectual rigor and sensitivity applied during this transformation. To clarify, consider culinary fusion—true fusion cuisine doesn't simply combine ingredients or plating styles from different cultures superficially. Instead, it reflects deep cultural understanding combined with a chef's personal skill and creative interpretation. Adopting this mindset prevents dilution, ensuring the resulting design retains genuine cultural resonance and authenticity.

Many young designers in Asia often struggle to balance following global trends with the desire to preserve their national identity. In your opinion, what is the best way to reconcile these seemingly opposing factors?

Young Asian designers particularly need to cultivate a solid foundation. Despite rapid technological advancements, fundamental skills and logical thinking in design remain indispensable. Traditional methods such as hand-drawing—honed through meticulous, patient practice—are irreplaceable, even by advanced AI. While I embrace and continually experiment with emerging technologies to enhance design presentations, many creative and profound insights emerge uniquely from the tangible, manual act of drawing. Globally, young designers often face information overload, reducing opportunities to deeply engage with their own cultures, thus risking the dilution of their identities.

The exhibition area of the Haimen Public Library featuring a chandelier made from seashells. A project by PplusP Creations Limited.

For countries with rich cultural foundations and indigenous materials, such as Vietnam, Thailand, and Indonesia, what lessons can be drawn from Hong Kong’s approach to design development—balancing international integration while maintaining a distinct identity?

In fact, I often envy Southeast Asian countries for their rich and deeply embedded cultural foundations. With almost two decades of experience organizing industry exchange events globally through my Hong Kong Interior Design Association and Guangzhou Design Week, I've noticed relatively limited interaction and knowledge sharing with Southeast Asian designers. For instance, Thailand particularly impressed me as a joyful, self-contained society, deeply content and focused inwardly on their unique cultural lifestyle. While this inward focus is commendable, greater international engagement could offer designers new perspectives, sparking unique interpretations of their heritage and further strengthening their identity through interaction and evolution.

Vietnam’s Trend 26+ publication highlights the interior design industry’s trend toward shaping identity through indigenous values. How do you assess this approach? Is it in contrast to Hong Kong’s direction?

I am genuinely impressed by the publication Trend 26+. Not only does it consolidate diverse insights from the Asia-Pacific region, but it also provides extensive local data, undoubtedly derived from meticulous research and analysis. What particularly stands out is its detailed exploration of Vietnam's local culture and design characteristics through the chapters. Applying this thoughtful, comprehensive approach to interior design, I firmly believe Vietnam has tremendous potential to achieve significant recognition on the international design stage.

Trend 26+ – the first trend publication of Vietnam’s interior design industry

Is delving deeply into cultural roots a sustainable development approach, even when facing the risks of economic downturn?

I particularly appreciate this question for its honesty and sincerity. While many questions can be answered with diplomatic positivity, the economic reality we face requires genuine reflection. I recently discussed the phenomenon of "involution" in mainland China's design industry—a direct consequence of rapid development. Although Hong Kong is a mature, developed city, its proximity to the thriving Chinese market has accelerated our industry's growth, leading to significant setbacks during recent economic downturns. I see this challenging period as an opportunity to reflect deeply, reorganize, and establish a sustainable path forward in design practice and business. Although I'm not an economist nor particularly focused on global economic trends, I strongly sense that Southeast Asian countries have remained relatively stable amid global economic instability. Rapid growth often results in equally rapid declines. Therefore, establishing a solid foundation, practicing moderation in growth, continuously self-reflecting, and genuinely enjoying our creative endeavors will allow us to sustainably contribute meaningful and beautiful spaces to the world.

Thank you for taking the time for this interview.