At Thresholds

Category: Furniture

At Thresholds began as a deeply personal exploration into cultural identity, memory, and belonging. Like many other Asian immigrants, I often find myself stuck in an ongoing search for acceptance. Stemming from that in-between space, I wanted to explore design as a tool to honor the diasporic experiences here in Aotearoa, specifically within the Vietnamese community. The project is a reimagination of Vietnamese furniture within a contemporary context, celebrating the unique ways in which we sit, eat, and socialize. This manifests in a low-dining table that is ergonomically and culturally viable for Vietnamese bodies and measurements. The design is not limited to just an object but a gathering space in which it enables conversations and connections. The Vietnamese diaspora is an under-recognized and underrepresented community in Aotearoa. The lack of objects catering to our needs presents an opportunity for me to design for my community, and regain agency in the hands of the marginalized. Unlike the prescribed way of sitting in Western culture, Vietnamese people prefer to sit closer to the floor or on a low, flat surface, a posture seen as humble and physically closer to others. This way of sitting allows for natural movement, with people often shifting and repositioning themselves throughout the meal. As such, the dining space must support both movement and interaction. Ergonomic analysis using measurements that closely represent the Vietnamese population is integral in showcasing an effort to centralize the community in the research. Two key dimensions that hold cultural significance are: diameter and height. If too large, it disrupts natural interaction; if too small, it fails to accommodate co-residency. If too high, it resembles other floor-sitting cultures’ furniture; if too low, it’s simply ineffective. With no existing data on floor-sitting postures, I applied geometry to calculate reaching distances, analyzing cross-legged seating and Vietnamese dining behaviors to inform these dimensions. The design is made up of three main components: the tabletop, four legs, and a support structure that slots into the legs. Crafted entirely from solid Macrocarpa, chosen for its sustainability. The piece is built without the use of metal components, as metal production often involves processes that contradict my commitment to sustainability. Although Macrocarpa is not native to New Zealand, it is grown locally and harvested responsibly. Each element references Vietnamese stories and tales I have been told since childhood. The overall shape references the Spiritual Turtle, one of Vietnam’s four holy beasts, The legs and their aprons reimagine traditional furniture and patterns found in architectural carvings from Huế Imperial City. The red inlay on the tabletop carved Cảnh Ngày Xuân by Nguyễn Du, the poem that my mother used to name my sister and me after. Coming from a family of literature teachers, this poem pays homage to my mother’s and grandmother’s careers teaching it. The piece is a juggle of many contradictions, soft yet strong, traditional yet contemporary, deeply personal yet broadly resonant. At Thresholds celebrates not only the stories of those who came before us but also an invitation for future generations to add their voices to the ongoing narrative of our diaspora.