Constantly preoccupied by security problems, the short-lived Mạc dynasty (1527-1596) was concerned mainly with the construction of major fortresses in outlying northern regions such as Tuyên Quang and Lạng Sơn.

However, by lifting restrictions on Buddhism the Mạc kings were indirectly responsible for something of an architectural explosion throughout the country. Construction of pagodas was resumed, now in a style which was to become increasingly popular in the following centuries throughout northern Việt Nam. Known as nội công ngoại quốc in deference to its shape, this style resembles the Chinese character 工 (công) surrounded by the outer frame of the Chinese character 國 (quốc). The typical nội công ngoại quốc pagoda comprised a front hall (incense-burning hall), a main sanctuary and a rear hall containing altars of late patriarchs and/or living quarters for the monks, with two side corridors directly connecting the front and rear halls which served to complete a rectangular frame around the main sanctuary.

This was also an important period of development in the field of rural architecture. As isolated farmsteads increasingly gave way to a network of villages and communes, the communal house or đình developed, initially as a temple dedicated to the patron saint of the village but later evolving as the village's administrative centre and a focus for all manner of social and cultural activities, including religious ceremonies, festivals, receptions for visiting dignitaries, traditional performances and even court sessions to judge citizens' misdeeds or settle land disputes. By the early 17th century the typical Việt village had a pagoda (chùa), a temple (đền), a communal house (đình) and a banyan tree and was protected from wild animals by a bamboo fence.

According to traditional rules of geomancy, the communal house stood in the centre of the village facing south east and preferably looking over a river; many were fronted by a large pond. Traditionally constructed using an extremely strong wood from the đinh (nail) tree, the communal house was sometimes built directly onto the ground, sometimes on stilts, with pillars running through the entire structure connected by a system of elaborately carved horizontal beams. The deep roof, which accounted for two-thirds of the building's height, curved sharply upwards at its four corners. The exterior wall panels of the building were often carved with traditional designs. At the centre of the communal house was an altar dedicated to the worship of the spirit of the founder or patron saint of the village.