Bridging generations, connecting cultures

NM: In France, there’s a new wave of emerging practices, and we’re truly fascinated by their work. It’s a daily source of motivation for us. We often talk about how the presence of so many new offices—especially in Paris—encourages us to reflect on what makes our own approach unique within this evolving context.

GM: It’s very stimulating—it made us think about how to grow and define our own singularity, and it pushed us to experiment in order to carve out that path. The competition encourages everyone to find their own identity, and for us, that’s essential.

NM: This is also part of our spirit. Paris is unique, and these practices are deeply influenced by its cultural richness. The diversity is astonishing—some architects focus on small-scale architecture or interior design, while others delve into social housing projects or scenography. The range of projects is broad, offering space for everyone to express themselves in various ways. It's incredibly stimulating to be part of this story in Paris.

GM: This growing movement of new practices is also closely tied to the presence of numerous architecture schools in Paris, where many passionate young teachers are committed to sharing knowledge. Together, they help create a vibrant and dynamic environment.

NM: Schools are preparing students much better than before, with courses that cover what you need to know to run an office and manage contracts. Then, the story behind each practice could be different. There are many paths into the profession. We have many friends who started right after school, while others, like ourselves, first worked in various practices before establishing our own. For us, it was a shared experience—working together in an office, learning the ropes, and understanding how practice functions in real life.

Different roads, one destination

GM: I’m from Montpellier, in the south of France. My father ran a construction company specialising in prefabricated wooden houses, and I worked with him every summer as a carpenter. That was my first experience in construction. I decided to pursue engineering studies, but my focus was always on the conceptual side. After completing my studies at IUT Génie Civil in Toulouse, I chose to enroll in architecture school first at École d'architecture of Montpellier and then at Paris-Malaquais to deepen my understanding of design.

NM: My personal story is similar to Gaétan’s. My father, Jean-Patrick Mallet, is an architect working in Versailles, which, of course, inspired me. I grew up surrounded by the work of Jean Dubuisson, a well-known French architect from the 50s to the 70s. This context was very inspiring. I started with engineering at Junia HEI - Hautes Etudes d'Ingénieur, but I felt it lacked a sense of realisation. That’s when I switched to architecture, completing my degree at Ecole Spéciale d'Architecture in Paris. It turned out to be the best decision I could have made.

GM: Both of us had engineering backgrounds before moving into architecture. When we joined architecture schools, we really found our way and felt deeply involved in this way of thinking. It was very stimulating, and I think we both felt that sense of discovery.

NM: We didn’t know each other at the time, but in some ways, our paths were similar. I did an exchange programme in New Orleans, while Gaétan studied for a year in Denmark. We both completed our master’s in Paris, and after graduation, we decided to join established firms. Our paths intersected through urbanism. I worked at TVK for about three years, and Gaétan was at Leclercq Associés. After that, in 2012, I decided to start my own office and in 2018, we joined forces. 

GM: We quickly realised we shared the same vision for architecture, and our complementary experiences really came together. Plus, we both already had experience in building construction, following sites in mountain regions, which is another common point. Nicolas worked on small-scale houses in the Alps, and I worked on two projects in the Pyrenees. When we met, about two or three years later, we realised we had something special to offer together. That was the start of Mallet Morales Architectes.

Building coherence

NM: We have a deep fascination with vast spaces, landscapes, and mountains. It’s an integral part of who we are. At the same time, we’re equally captivated by the complexity of urban environments. These two scales provide us with the opportunity to think critically about users, how things work together, and how context—whether it’s the Alps or a bustling urban city—shapes our approach. We enjoy the process of zooming in and out, which is one of the core aspects that defines our practice. We begin by analysing the big picture, understanding the broader context, and then zooming in to the one-to-one scale, paying close attention to every detail. 

GM: Whether the project is large or small, we always focus on the user's experience, with the quality of space remaining central. For example, in collective housing in France, habitability often tends to be standardised, but we try to avoid that. We challenge ourselves—and our clients—to bring unique, thoughtful solutions to these projects, whether it’s through the choice of materials or integrating small-scale experiments within larger collective programmes. The quality of habitability is crucial for us, and we strive to improve it in every project, regardless of its size. 

NM: User wellness is one of the core aspects of our work. We want to create spaces that are not only functional but also desirable—spaces that users can truly connect with and feel like they belong to. Our approach balances technical considerations with a human-centered perspective. Every decision we make—whether related to environmental factors, economics, or construction—is ultimately in service of the user. 

GM: All of these elements can be communicated through our process. During an exchange in Denmark, I was deeply impressed by the emphasis on showing how everything comes together into a coherent narrative. We always aim to share our process with clients so they can understand how we arrived at a solution. In a way, we want the building itself to tell its own story. We want anyone who interacts with it to easily understand how it was made. It’s essential for us to grasp the logic behind every choice and express it through the process.

Stories behind the structures 

NM: A great example that highlights the importance of the storytelling behind our decisions is the rehabilitation of the façade of the Médiathèque Max-Pol Fouchet in Châtillon. The existing façade was in poor condition, so we had to demolish it, but we decided to reuse the materials to incorporate them in the new façade. We integrated the materials into prefabricated concrete panels, which felt like a good balance between rationality and storytelling. The façade couldn’t be kept, so that was the only way to reuse what we could and build a narrative around it.

GM: The reuse of materials wasn’t mandatory, but we convinced the city—along with the mayor—that it was a great way to preserve the building's memory by incorporating some of the original materials into the new façade. Everyone was pleased with the outcome because it told a story that resonated with all involved. For us, the process is just as important as the final product, and sharing that story with the client was a key part of it. It’s crucial for us that the building is readable, allowing the client to understand its structure just by looking at the façade. 

NM: Another example that brings together some of the key aspects of our work is Odeillo, currently under construction in the Pyrenees. It’s a small-scale project, but it synthesises everything we’re trying to do right now in our practice—bioclimatic principles, space organisation, and functionality. We really care about creating spaces that people want to live in. 

GM: The site is exposed to a lot of sun and wind, so we had to consider the house’s orientation and how to take advantage of those natural elements. The client’s uncle is the inventor of the mur Trombe—a thick wall with glass panels placed outside to heat the air, which then rises through the wall to warm the house naturally. We are really excited to incorporate this technology into the project and optimise its effectiveness. The roof is large, providing shade in the summer, which is part of our bioclimatic strategy. We focused on organising the living spaces around a central functional block, where we placed the kitchen, closets, and technical components. This approach ensured the house remained functional while maximising space quality.

GM: We’re also very involved in the construction process. It’s a prefabricated wood structure, so the building will go up quickly—in just two or three weeks. For us, being involved in construction is important because it helps us understand the act of building and ensures we’re not just designing from a distance. We want to be hands-on in the creation process.

Balancing scale, structure, and sensitivity

NM: Thinking about larger-scale projects, we’re doing a lot of work in social housing because we believe it should be well-designed and thoughtfully made for the users. One example is a project in Annemasse that includes 90 dwellings along with other functions. It’s an urban intervention composed of five buildings, and we collaborated with Déchelette Architecture on two of them. Annemasse is located near Geneva, close to the mountains, offering stunning views of the Jura and the Salève—linking the urban setting to the natural landscape. Our focus was on creating a space where people can feel they truly belong, even within a large development. We explored flexible living arrangements and worked on making the flats adaptable. We focused on organising the technical functions at the core of the buildings, freeing up space for living areas like kitchens and living rooms, and ensuring they had access to natural light. 

GM: The site posed a challenge, being in a seismic zone, so we combined low-carbon concrete with a timber structure. The key for us was selecting the right components and placing them with intention. The choice of elements and construction system is crucial, especially in collective housing, where concrete floors often perform better than wood for acoustic reasons. It’s about thinking carefully about material placement and understanding that not everything is ‘free’ in construction—it has to have a reason behind it.

NM: We're always searching for meaning in what we do, and that includes thinking about our building’s life cycles. We don't just focus on their current use, but also how they'll evolve over time. We're exploring AMP (Adaptable, Modular, and Prefabricated) construction, which, in France, often faces challenges due to the heavy regulatory framework. We’re determined to find solutions that allow buildings to be repurposed or deconstructed in the future. It’s about planning not just for today but for the next 50 or even 100 years.