Three levels, five bedrooms, and a vast ground floor that follows the principle of the nhà sàn, opening the house to the land.
The flower holds a particular place here. In the Western tradition it is the only part of life untouched by original sin; in Huế it is often linked to metamorphosis — the passage from plant to animal. The theme runs through the whole house.
The structure gently inclines toward arriving guests, sheltered beneath a wooden roof with a stepped awning inspired by ancient models.
A garden inspired by Cham art — whose kingdom once reached its northern border near Huế — of sculpted stones, fountains and antique statuary.
A monumental carved-stone chimney warms the short winter months. Handmade lighting, fine leather seating, ancient artworks and an interior well complete the ensemble.
Stained glass, and the rose within the lotus
Its defining feature is the stained glass by the Saigon artist Nguyễn Niên: a rose, central to Western medieval spirituality, set within a Vietnamese lotus like those that bloom in the Citadel’s lakes.
Hand-carved wooden arches show the Huế technique of partial painting, which brings out the wood while keeping its grain and warmth.
Turquoise tones, ironwood lattice, a mosaic bath
Bathed in soft turquoise, this room captures the essence of Huế — a city of charm, poetry, flowers and culture. At its heart stands a carved “cage bed”, after a historic screen still visible in the Imperial Citadel.
Handmade ceramics rest in the shadow of large carved ironwood lattice windows; ceilings, doors and glass are hand-painted by Nguyễn Niên’s workshop; antique lanterns glow over a spacious mosaic bathtub.
Art Deco in Vietnamese wood
In the villages around Huế, wooden houses of the 1920s and ’30s show a remarkable encounter: classical Vietnamese décor meeting the geometry of Art Deco. This room draws directly on that hybrid heritage.
Blue, white and natural wood; the era’s patterns carved into the woodwork, set in handmade ceramic friezes and echoed in the glass; a floor of wood, ceramic and stone; the bed beneath a striking wooden canopy.
Echoes of Huế’s Chinese-rooted families
It is often said that Nguyễn-dynasty Huế is fifty per cent Chinese, fifty per cent European and one hundred per cent Vietnamese. This room takes that mix furthest.
Frescoes, painted glass and chosen antiques: a period lavabo restored to use, a large carved Ningbo panel, and above the bedhead, motifs in the manner of eighteenth-century chinoiserie wallpaper.
Lacquer from Saigon’s golden ateliers
Named for the most celebrated of Saigon’s mid-century lacquer ateliers. In the 1960s, despite the upheavals of the era, Ateliers Thanh Lê adapted ancient lacquer techniques to new forms — and this upper-floor suite is furnished entirely with their emblematic work.
Paintings and stained glass by Nguyễn Niên of Biên Hòa, and doors hand-painted in homage to Mai Thu and Lê Phổ, echo the sensibility of the École des Beaux-Arts de Saigon.
A 360° turn through the Flower House’s ground floor.
Rooms from 2,500,000 VND · whole villas from 7,000,000 VND a night.
