Competing in a crowded field

MS: In France, and more particularly in the Ile-de-France region, there is a high concentration of architects. The city has many architecture schools—five or six, I believe—which results in a dense architectural community. Around 50% of French architects live in or around Paris, making it a highly competitive environment. In competitions, we are often up against hundreds of other firms, sometimes as many as 200 or 300 for a single project. This creates challenges, especially for young architects, who must continuously strive for excellence.

Paris is unique, and new construction is particularly difficult due to the city’s historical heritage. Many Parisian firms specialise in renovations and interior projects rather than new builds. With the new thermal regulations, energy renovations do not only involve adding insulation but also an in-depth study of a set of processes to be implemented to reduce energy needs.            

In some cases, it’s necessary to be able to offer alternatives to traditional materials such as the iconic zinc rooftops, to incorporate greenery and address rising temperatures. In the next 10–20 years, we may see a significant transformation in Parisian architecture.

From student to studio founder

MS: Today, we would like to be able to access other programs. Social housing has always interested me a lot. However, gaining entry into this field as a young practice without references was extremely difficult. Now, after 12 years in the industry, I have a portfolio that may allow me to participate in such projects, as well as public buildings. To do so, I have recently completed a new book showcasing my work and have started meeting with Parisian institutions. Collaborating with other firms is essential since having prior experience in a specific type of building is often required before being considered for projects in that category. For example, to design a social housing project, one must already have experience in social housing. The same applies to libraries, schools, and other public buildings.

I began my architectural studies in Paris in 2002 and spent a year in Madrid for an Erasmus programme, where I was exposed to different construction strategies and learned a lot about architectural representation. Back in France, I worked under Pierre-Louis Faloci while still a student—then in Ateliers Jean Nouvel. After completing my studies in 2008, I had the opportunity to work on the renovation of Le Théâtre du Trianon in Paris, located in the 18th arrondissement. As one of only two architects on the project, I was responsible for the entire renovation, including the facade, roof, and structure. At that point, I had to create my own agency. After completing the theatre project, we spoke with friends from architecture school about starting a practice together. This was the beginning of cent15 architecture. We initially believed that having a well-known project in our portfolio would make things easier, but at just 27 years old, we faced scepticism from clients. However, over time, with more experience and projects, the practice grew.

Lessons from a bold beginning

MS: Looking back, starting a practice so young in a city with 20,000 architects was a bold move. Many peers spent years working in established firms before founding their own practices. In hindsight, that may have been the more strategic path. Paris is a tough market, and if I were to reconsider my career path, I might have chosen to spend more time under the guidance of a more experienced practice instead. When starting out in architecture, you have little to lose, so it's a time for experimentation. My early years were spent working non-stop—days, nights, weekends—while also networking to find new projects. The first significant project we secured was a private office, which later led to designing a private museum for the client’s grandfather, a 19th-century expressionist painter—a project that’s currently ongoing. This was our first major opportunity, but it took about seven years to reach that point.

Projects in collaboration with individual clients can be a real challenge. Not all clients understand what an architect can really bring to them. They come with their goals, objectives, and reference images—often too many. Not all clients are open to collaboration, where the project is neither solely the architect's vision nor just the client’s demands, but the birth of a common and unique project. My best projects come from working with the best clients—those who trust the process. Trust between architect and client is key to creating great projects. Each project is different, as are the demands. Even within the same type of space—such as a restaurant—there are endless possibilities. We never start with a fixed idea; ideas emerge naturally after weeks of study and understanding the client’s needs. The most important thing is transforming the client’s dream into a coherent reality.

Nothing is arbitrary

MS: One of my goals has always been to work on social housing. However, many architects find that once they enter a specific sector, they remain in it exclusively. Some of my peers dream of designing restaurants, museums, or other types of buildings but find themselves locked into one niche. Ideally, I want to explore a variety of architectural programs, and I understand that timing is crucial. We don’t adhere to a specific architectural style. Instead, our approach responds to the current architectural landscape. We do a lot of renovations, and for us, it’s completely natural to respect the history of a building. We preserve what can be kept and create a dialogue between old and new materials, techniques, and uses. Understanding a building’s transformation over time is essential. We work with simple materials and highlight their inherent qualities. 

The beauty of a project comes from its use—the way a space functions defines its architecture. Spaces today must be designed with adaptability in mind. For example, we once worked on a retail project for a store selling bulk laundry detergent, Kerzon. Customers could bring their own containers and fill them with 10 litres of soap. The client wanted an interactive experience, similar to an Aesop store, where people could engage with the product. We proposed installing a washing machine as part of the store’s design—allowing customers to experience the scent of freshly washed clothes. Additionally, the client wanted lush greenery throughout the store. We explored this idea further through the possibility of reusing water from the washing machine to irrigate the plants in the shop. Initially, it seemed impossible due to the presence of detergents and other contaminants. However, after weeks of collaboration with engineers, we developed a filtration system that allowed for the reuse of a single cycle’s water per day. Unfortunately, the project was cancelled due to the COVID-19 pandemic, but the process was valuable. 

As architects, we often work on projects that never materialise, but these exercises help us grow, test ideas, and contribute to architectural evolution. The client was open to listening and considering new ideas, which is invaluable. I insist on the importance of the client relationship—it is truly one of the most crucial aspects of our work. Architects must be adaptable, taking on the roles of designers, problem solvers, and sometimes even psychologists. The job is complex because we deal with budgets, planning, and technical constraints, all while maintaining the client’s trust. Ultimately, the client has the final say, and we respect that.

Pushing boundaries

MS: For small projects, it’s preferable to work locally, within the same city or region. For larger projects, travelling is more feasible. About 80% of our projects are in or near Paris, while the rest are spread across France. We’ve worked on a restaurant in Cannes and are currently building a house using wood, straw, and earth in the East of France. Projects like these require space, which is scarce in Paris. I previously designed a restaurant in Paris—Tekés—entirely from earth—walls, ceiling, floor (a 10 cm-thick earth floor), and furniture, including benches and the reception desk. It was one of the first projects in Paris with such extensive use of earth, sourced two hours north of the city.

At first, the client was sceptical. A restaurant with an earthen floor? It sounded risky. But we demonstrated how architecture isn’t about doing something ‘crazy’—it’s about thoughtful design choices. Earth is sustainable, easy to maintain, and fits seamlessly with the restaurant’s concept, centred on vegetables. As the concept of this vegetarian restaurant. Instead of the typical approach of filling a space with green plants, we emphasised the source—earth itself. The result was a successful project that resonated with the client and visitors alike.

The agency also focuses on implementing the most natural climate principles within the home. The 9th Avenue project, for example, involves the construction of a wooden-frame house with straw insulation, an interior earth plaster (partly sourced from the land itself), and heating generated by biomass (wood from trees felled on the property).

In rehabilitation projects, the goal is to retain as much of the existing structure as possible, reusing what is useful on-site and thus avoiding the implementation of excessive new elements. One of the agency's principles is the repurposing of certain materials (often inexpensive). The Opéra project, for example, utilises aluminium film insulation for the façades of "call boxes," while the Papier Tigre project uses recycled corrugated fibreboard sheets as the formwork for the air conditioning motor. Each material has its own nobility, depending on how it is applied and presented.

The agency’s approach focuses on reducing architectural issues to their essential functions, believing that perfectly executed functionality naturally gives rise to a project's unique and original aesthetics.

Documenting the work

MS: Publishing a book about our work was an important step. It felt like the right moment to reflect on the past decade and synthesise our experiences. A portfolio forces you to evaluate your practice, choose representative projects, and present your vision clearly.

We wanted to showcase a variety of projects, from small to large-scale ones, to illustrate our versatility. The process was challenging but rewarding. Now, when I meet with potential clients, municipalities, or developers, the book serves as a tangible representation of our work. In some ways, it’s more impactful than a website or Instagram—it conveys a sense of seriousness and permanence that digital platforms sometimes lack.

Looking back on the first ten years of my practice, I realise how much I’ve grown. At the time of designing each project, I was proud of it. But years later, I sometimes question certain choices. Not all projects made it into the book, but overall, I’m proud of our body of work. We’ve completed around 100 projects—an average of 10 per year. Some were small sketches or conceptual studies, while others were fully realised. Documenting this history was important, not just for potential clients but also as a reflection of our journey and evolution in the field of architecture.