{"id":8039,"date":"2026-03-27T16:34:20","date_gmt":"2026-03-27T09:34:20","guid":{"rendered":"https:\/\/battrang.museum\/?post_type=journal&p=8039"},"modified":"2026-03-27T16:36:20","modified_gmt":"2026-03-27T09:36:20","slug":"four-women-designers-in-dialogue-with-ceramic-heritage","status":"publish","type":"journal","link":"https:\/\/battrang.museum\/en\/journal\/four-women-designers-in-dialogue-with-ceramic-heritage\/","title":{"rendered":"Four Women Designers in Dialogue with Ceramic Heritage"},"content":{"rendered":"
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Four Women Designers in Dialogue with Ceramic Heritage<\/h1>\r\n[\/vc_column_text][vc_empty_space height=”1rem” el_class=”hide-mobile”][vc_empty_space height=”3rem”][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-4 vc_col-sm-offset-2″][vc_column_text]\r\n
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In today\u2019s landscape of design and art, heritage is no longer a static archive. It becomes a living material\u2014continuously reinterpreted, negotiated, and renewed through creative practice. In the case of ceramics, one of the most enduring and memory-laden mediums in Vietnamese culture, this continuity demands not only technical mastery, but also a professional ethos and a deep cultural sensibility.<\/p>\r\n

The feature \u201cWomen Designers in Dialogue with Ceramic Heritage,\u201d<\/i> by B\u00e1t Tr\u00e0ng Museum Journal, presents four practitioners working across fashion, architecture, installation, and product design. For each, a professional trajectory is not only defined by milestones, but by an ongoing search for points of contact with tradition.<\/p>\r\n

This dialogue is not about repeating established forms, but about asking a fundamental question: how can heritage remain present in contemporary life? And how do women\u2014through sensitivity, resilience, and a capacity for mediation\u2014enter this conversation?<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][vc_column_text]\r\n

Words\u00a0H\u00e0 Tu\u1ea5n Minh<\/strong>\r\nBTMJ Editor\u00a0V\u0169 Chi Lam<\/strong>\r\nPhotograph L\u00ea Lai<\/strong> – V\u0169 B\u00e1ch L\u00e2m<\/strong><\/h5>\r\n[\/vc_column_text][vc_empty_space height=”4rem”][\/vc_column][vc_column width=”7\/12″ offset=”vc_col-lg-3 vc_col-md-offset-1 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm”][vc_empty_space height=”2rem”][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”8094″ img_size=”full”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”6rem”][vc_empty_space height=”6rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″ offset=”vc_col-sm-offset-3″ css=”.vc_custom_1635415240768{padding-right: 2rem !important;padding-left: 2rem !important;}”][vc_column_text]\r\n
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This dialogue is not about repeating established forms, but about asking a fundamental question: how can heritage remain present in contemporary life? And how do women\u2014through sensitivity, resilience, and a capacity for mediation\u2014enter this conversation?<\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”10rem”][\/vc_column_inner][\/vc_row_inner][vc_column_text]\r\n
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Architect Nguy\u1ec5n H\u00e0\r\nArchitectural Thinking in Ceramic Form<\/h4>\r\n

To sustain an interdisciplinary practice, architect Nguy\u1ec5n H\u00e0 has developed a creative ecosystem comprising ARB (Architecture), BEAULO (Object Design), and MM Lab (Material Research). Within this system, BEAULO operates as an open experimental space, where cross-disciplinary research is translated into objects at a smaller scale than architectural works.<\/p>\r\n

Here, the boundary between tradition and industry is deliberately blurred. Materials range from ceramics and paper to composites and industrial piping, as long as they enable a process of open-ended experimentation.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-6 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”4rem”][\/vc_column_inner][vc_column_inner width=”2\/3″ offset=”vc_col-md-6 vc_col-xs-8″][vc_empty_space height=”4rem”][vc_empty_space height=”4rem” el_class=”hide-mobile”][vc_single_image image=”2969″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/4″ offset=”vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-1 vc_col-xs-3″][vc_single_image image=”6498″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n

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If architecture requires precision and control, ceramics introduces a different kind of freedom\u2014one shaped by the unpredictability of glaze and fire. Minor material deviations and unexpected transformations during firing become integral to the aesthetic outcome.<\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_section el_class=”.grid-collection”][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-3 vc_col-sm-offset-2″][vc_column_text]

Her collaboration with BTMA began with an unusual ceramic form by the late People\u2019s Artisan V\u0169 Th\u1eafng. From this starting point, Nguy\u1ec5n H\u00e0 developed the Con V\u1ecbt<\/i> (Duck) Collection, approaching the object not as decoration but as a spatial agent.<\/p>[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-4 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”5552″ img_size=”full”][\/vc_column][\/vc_row][\/vc_section][vc_row][vc_column][vc_empty_space height=”4rem”][\/vc_column][\/vc_row][vc_section el_class=”.grid-collection”][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-3 vc_col-sm-offset-2″][vc_column_text]\r\n

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Across scales, the form can function as a large sculptural piece, a vase, a table lamp, or a small incense holder. Through structural inversion and shifts in proportion, architectural thinking is condensed into ceramic form, repositioning familiar objects within a new visual context.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-4 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”5528″ img_size=”full”][\/vc_column][\/vc_row][\/vc_section][vc_row][vc_column][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_single_image image=”8071″ img_size=”full” alignment=”center”][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”10rem”][\/vc_column_inner][\/vc_row_inner][vc_column_text]\r\n

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Designer Di\u1ec7u Anh\r\nFashion Meets Cultural Form<\/h4>\r\n

Entering her third decade of practice, Di\u1ec7u Anh expands from fashion into product design. This move is less a departure than a continuation of her long-standing engagement with local cultural narratives embedded in her earlier work.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-6 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”4rem”][\/vc_column_inner][vc_column_inner width=”2\/3″ offset=”vc_col-md-6 vc_col-xs-8″][vc_empty_space height=”4rem”][vc_empty_space height=”4rem” el_class=”hide-mobile”][vc_single_image image=”8061″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/4″ offset=”vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-1 vc_col-xs-3″][vc_single_image image=”6500″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_section el_class=”.grid-collection”][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n

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\u00a0<\/span>Working with ceramics introduces new material constraints, reframing design as a negotiation between conceptual intent and physical possibility.<\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”4rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-3 vc_col-sm-offset-2″][vc_column_text]\r\n
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In the R\u1ed3ng Ph\u1ed1<\/i> (Dragon of The Urbanites ) collection, the dragon is removed from its symbolic context and placed within everyday urban life. While its sinuous body and elevated head remain, it appears in familiar forms such as pipes, tires, or roadside stools. This shift creates a dialogue between the sacred and the ordinary, situating traditional symbolism within contemporary contexts.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-4 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”7557″ img_size=”full”][\/vc_column][\/vc_row][\/vc_section][vc_section el_class=”.grid-collection”][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-3 vc_col-sm-offset-2″][vc_column_text]\r\n

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In An Nam<\/i>, Di\u1ec7u Anh continues to explore East Asian cultural motifs. If fashion uses fabric to shape form, here form is defined through clay and glaze. In collaboration with BTMA and its signature layered-glaze technique, the works develop nuanced surface tones. Ceramics and fashion converge in a minimal design language, referencing cultural forms such as the ceremonial headdress, y\u1ebfm bodice, bamboo segments, and rice grains in a contemporary expression.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-4 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”4536″ img_size=”full”][\/vc_column][\/vc_row][\/vc_section][vc_row][vc_column][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_single_image image=”8073″ img_size=”full” alignment=”center”][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”10rem”][\/vc_column_inner][\/vc_row_inner][vc_column_text]\r\n

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Artist Phan Linh\r\nFrom Global Visual Practice to a Sense of Place<\/h4>\r\n

With nearly two decades of experience in visual art and creative design, Phan Linh worked for over nine years as a Window Display Artist for Herm\u00e8s, while also serving as an Art Director for leading lifestyle magazines in Vietnam. Now based in Norway, she focuses on independent artistic practice, where ceramics becomes a medium for connecting personal memory with cultural experience.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-6 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”4rem”][\/vc_column_inner][vc_column_inner width=”2\/3″ offset=”vc_col-md-6 vc_col-xs-8″][vc_empty_space height=”4rem”][vc_empty_space height=”4rem” el_class=”hide-mobile”][vc_single_image image=”8069″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/4″ offset=”vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-1 vc_col-xs-3″][vc_single_image image=”7816″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_section el_class=”.grid-collection”][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n

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Phan Linh focuses on independent artistic practice, where ceramics becomes a medium for connecting personal memory with cultural experience.<\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”4rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-3 vc_col-sm-offset-2″][vc_column_text]\r\n
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In the M\u00e3 Ni\u00ean 2026 project with BTMA, she reimagines the horse in an unusually quiet state. Rather than a heroic presence, the figure appears in a moment of stillness, drinking by a stream\u2014suggesting a pause within cyclical time. The work draws from seasonal rhythms and the philosophy of repetition explored in the film Spring, Summer, Fall, Winter\u2026 and Spring<\/i>.<\/p>\r\n

Cloud motifs referencing traditional sculpture, combined with water forms inspired by saddle shapes in the stone carvings of Emperor Minh M\u1ea1ng\u2019s Mausoleum, create layered associations. The image of a horse \u201cdrinking the sky\u201d becomes a metaphor for memory and return.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-4 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”7828″ img_size=”full”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-3 vc_col-sm-offset-2″][vc_column_text]\r\n

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Approaching ceramics as an open structure, the work is constructed in three detachable parts, allowing flexibility across display contexts through variations in assembly and glaze. From this central form, M\u00e3 Ni\u00ean<\/i> extends into everyday objects\u2014bowls, cups, vases, and lamps\u2014bringing sculptural language into daily life.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-4 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”7604″ img_size=”full”][\/vc_column][\/vc_row][\/vc_section][vc_row][vc_column][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_single_image image=”8075″ img_size=”full” alignment=”center”][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”10rem”][\/vc_column_inner][\/vc_row_inner][vc_column_text]\r\n

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Artist Ph\u1ea1m Ki\u1ec1u Ph\u00fac\r\nUncovering the \u201cHidden\u201d in Ceramic Practice<\/h4>\r\n

After nearly two decades leading the design brand Module 7, Ph\u1ea1m Ki\u1ec1u Ph\u00fac relocated to H\u1ed9i An in 2018. Time spent living and working in nature became a period of reflection, allowing her practice to be reconsidered from within.<\/p>\r\n

From this experience emerges the concept of \u201cT\u00e0ng \u1ea8n\u201d (Inside the Unknown)<\/i>. Here, heritage is not confined to objects or archives, but understood as a latent cultural memory within the individual, waiting to be activated through creative practice.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-6 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”4rem”][\/vc_column_inner][vc_column_inner width=”2\/3″ offset=”vc_col-md-6 vc_col-xs-8″][vc_empty_space height=”4rem”][vc_empty_space height=”4rem” el_class=”hide-mobile”][vc_single_image image=”8059″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/4″ offset=”vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-1 vc_col-xs-3″][vc_single_image image=”8080″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][\/vc_column][\/vc_row][vc_section el_class=”.grid-collection”][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n

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Here, heritage is not confined to objects or archives, but understood as a latent cultural memory within the individual, waiting to be activated through creative practice.<\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”4rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-3 vc_col-sm-offset-2″][vc_column_text]\r\n
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Her collaboration with BTMA materializes in the Giao Ch\u1ec9<\/i> collection, rooted in childhood memories of stories told by her father. Rather than reconstructing myth as historical fact, she approaches it as a primordial image within the subconscious. The Giao Ch\u1ec9 foot<\/i> becomes a symbolic marker rather than a literal representation.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-4 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”8065″ img_size=”full”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-3 vc_col-sm-offset-2″][vc_column_text]\r\n

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A restrained sculptural language informed by Art Primitive\u2014characterized by simplified, geometric forms recalling prehistoric and folk aesthetics\u2014combined with BTMA\u2019s layered-glaze technique, produces objects that are at once archaic and contemporary.<\/p>\r\n

Moving from observation to direct engagement, Ph\u1ea1m Ki\u1ec1u Ph\u00fac works with clay and fire as primary media. Through this process, cultural memory and personal experience gradually take form as tangible ceramic objects.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-4 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”8067″ img_size=”full”][\/vc_column][\/vc_row][\/vc_section][vc_row][vc_column][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_single_image image=”8082″ img_size=”full” alignment=”center”][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″ offset=”vc_col-sm-offset-3″ css=”.vc_custom_1635415240768{padding-right: 2rem !important;padding-left: 2rem !important;}”][vc_column_text]\r\n

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Points of Convergence: Gender and Heritage<\/h4>\r\n

Four distinct practices, yet a shared point of convergence: B\u00e1t Tr\u00e0ng ceramics as a site for dialogue with heritage. While Di\u1ec7u Anh engages continuity within local cultural flows, Nguy\u1ec5n H\u00e0 embeds architectural thinking into minimal forms, Phan Linh translates memory through imagery and surface, and Ph\u1ea1m Ki\u1ec1u Ph\u00fac reveals latent cultural layers through material engagement.<\/p>\r\n

This feature does not merely document individual practices, but reflects a broader approach to heritage through a female perspective. Here, heritage is no longer a fixed relic of the past, but a living material\u2014continuously reinterpreted and embedded within contemporary life. Through their work, B\u00e1t Tr\u00e0ng ceramics moves beyond display, taking on new roles within design and everyday experience.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem”][vc_single_image image=”3601″ img_size=”medium” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″ offset=”vc_col-sm-offset-3″][vc_column_text]\r\n

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B\u00e1t Tr\u00e0ng Museum Atelier (BTMA)<\/strong>\r\nis a ceramic workshop of nearly fifty years, operating under B\u00e1t Tr\u00e0ng Museum and run by members of the founding family to continue the legacy of People\u2019s Artisan V\u0169 \u0110\u1ee9c Th\u1eafng. BTMA focuses on researching and developing the aesthetic language of Vietnamese ceramics \u2014 from form and glaze to decorative motifs \u2014 translating these traditions into contemporary design. Alongside preserving works associated with the artisan\u2019s legacy, BTMA collaborates with artists across disciplines to explore new creative directions.<\/h5>\r\n
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Architect Nguy\u1ec5n H\u00e0<\/strong>\r\nFounder of ARB Architects, Nguy\u1ec5n H\u00e0 is the recipient of the Moira Gemmill Prize 2024 (W Awards) for emerging architecture. Known for heritage-focused projects such as the Mother Goddess Museum<\/i>, she extends her practice into product design through BEAULO, a research-driven platform exploring local materials and their contemporary applications. In 2025, she collaborated with BTMA on the Con V\u1ecbt<\/i> collection.<\/h5>\r\n
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Designer Di\u1ec7u Anh<\/strong>\r\nWith over two decades in fashion, Di\u1ec7u Anh is known for her use of contemporary form informed by East Asian aesthetics. Her practice spans major fashion platforms in Vietnam and internationally, while maintaining a strong engagement with local cultural identity. Her collaboration with BTMA includes the R\u1ed3ng Ph\u1ed1<\/i> and An Nam<\/i> collections (2024).<\/h5>\r\n
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Artist Phan Linh<\/strong>\r\nPhan Linh spent over nine years as a Window Display Artist for Herm\u00e8s and served as Art Director for leading lifestyle magazines in Vietnam. Her work bridges contemporary graphic language and traditional craftsmanship. Based in Norway, she collaborated with BTMA on the M\u00e3 Ni\u00ean<\/i> collection (2026).<\/h5>\r\n
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Artist Ph\u1ea1m Ki\u1ec1u Ph\u00fac<\/strong>\r\nWith over two decades of practice in product design, Ph\u1ea1m Ki\u1ec1u Ph\u00fac is the founder of Module 7. Building on her design background, she has expanded into independent artistic practice, notably through her collage series\u00a0Into The Unknown (T\u00e0ng \u1ea8n)<\/i>, where reflections on memory and identity are explored through a contemporary visual language.<\/h5>\r\n[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″ offset=”vc_col-sm-offset-3″][vc_single_image image=”8096″ alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”6rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”6rem”][vc_empty_space height=”6rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]
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Four Women Designers in Dialogue with Ceramic Heritage<\/h4>\n \n\t
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