New approaches among emerging architects

MH: In France, we use the phrase lettres de noblesse to describe architecture’s historical prestige, but today, it's not a highly lucrative profession. Many architects reach a point where they either return to their hometowns to earn a modest income or stay in a larger city to pursue their work despite financial challenges. Many small architectural offices operate independently. Our firm, with about ten people, is considered medium-sized, whereas many architects in France work alone or in teams of two or three. Currently, the public perception of architects is somewhat distorted. If you ask someone on the street, they might picture an architect as someone who simply sketches artistic designs and earns a lot of money. In reality, architecture requires a broad, global vision that integrates social, environmental, and economic factors. In France, and perhaps across Europe, this holistic role has been somewhat undervalued, leading to a decline in both the profession’s influence and financial viability. When working with private clients—whether for a house or an interior project—some approach us because they genuinely appreciate our work, which is ideal. But often, clients see architects as service providers, much like doctors, rather than as creative professionals with a distinct vision. This is compounded by the influence of platforms like Instagram, where architectural imagery has become highly standardised—same lighting, same materials, same aesthetics. This trend is not just a French issue; it's a global phenomenon that affects the way architecture is perceived and practised.   

That said, France is a large and diverse country, and architectural trends vary depending on the region. People often talk about the differences between the South, the North, and Paris. It's not about trends, but more about current approaches. Right now, there is a movement towards natural materials—stone, wood, straw, earth—marking a new wave of sustainable architecture that is gaining traction. What unites emerging architects is not a specific stylistic approach but a shared philosophy: building with less while maximising utility, embracing honesty in material use, and allowing the structure’s expression to remain visible. This results in an unintended yet recognisable style. Emerging voices find their own ways to contribute to contemporary architectural discourse. In France, this phenomenon is reinforced by initiatives like AJAP (Album des Jeunes Architectes et Paysagistes), a government-backed recognition published every two years. A6A was featured in the 2020 edition. The AJAP selects 10 to 15 architects under the age of 35, offering insight into how young architects in France are thinking and working. Each edition of the AJAP serves as a snapshot of architectural trends, reflecting the evolving collective interests of the profession.

Ten years in the making 

MH: Antoine Ragonneau, Roberto de Uña, and I, Michel Hardoin, met at the Architecture School of Bordeaux and decided to start our office right after graduating, as we had opportunities for several projects. Being in Bordeaux was a strategic choice. The city offers a good quality of life, with both old and new architecture, the ocean, and the mountains not too far away. We never felt obligated to move to Paris—we preferred a more central, balanced environment. The first few years were intense. We worked a lot, but without a clear direction—just moving forward without really knowing where we were going. Fortunately, we had the chance to secure a few good projects early on, which allowed us to grow step by step. Now, we are a team of 10: seven employees plus the three partners. 

Looking back, the first five years were about working without a defined path. After three years, we started taking things more seriously, refining our architectural approach. By the 10-year mark, we had the opportunity to move into our current space—a warehouse near Bordeaux’s train station. This was a major turning point, happening just a year after we were selected for AJAP. Submitting for AJAP required us to send a 30-page portfolio to the Ministry of Culture in France. It was a moment of reflection, forcing us to articulate our ideas and direction. But in reality, it took us about eight years to clearly define what we wanted and where we were headed. Since AJAP, things have changed significantly. Our ideas have become clearer, and we developed the intention to create a specific kind of workspace. A few years later, we found this place, which is now our office. We renovated it together with our team and transformed it into what we had envisioned.

After 10 years of working together, each of us has developed our own abilities, whether it's meeting people or focusing on things we enjoy. What’s interesting is that among the three partners, we share everything. There’s no strict division where one person handles competitions and another manages relationships. We try to do everything collaboratively. Whenever we take on a new project, all three of us discuss it together. Then, two of us work on it along with one member of the office. As the project progresses, one partner follows it more closely, while another provides an outside perspective. Even the office itself has been designed in a certain way to foster collaboration. The space is designed so that everyone can hear and be aware of what's happening. We only have one closed meeting room, but otherwise, we work in an open environment. We wanted to maintain this open, collaborative atmosphere. Every Monday morning, we hold a meeting at a common table for one or two hours, where we discuss all ongoing projects. This allows everyone to stay informed about project progress, decide whether one or more people need to focus on specific tasks that week, and outline the next important steps. This setup has significantly improved the way we work and communicate. Since introducing the Monday morning meetings, I think it has been beneficial for everyone. It allows us to ask questions, gain a clear overview of the office, and stay connected as a team.

Small projects based on solid principles

MH: When we think about the way we work, we often refer to two projects that are representative of A6A. One is the extension of a cemetery in Sablonceaux, about an hour from Bordeaux, set in a rural landscape next to a protected church. The project was overseen by Architectes des Bâtiments de France, responsible for safeguarding emblematic buildings. It was a competition, but a very small one, with a budget of just €80,000. Rather than an architectural project, it was more of a landscape intervention, and designing a cemetery presented a fascinating challenge. This project reflects many principles we apply in our work. First, the relationship with the landscape—we always try to engage with the context and surroundings. Then, the materials—we used site concrete, incorporating local stone into the mix and sanding it to reveal the stones in different layers. This approach allowed the new construction to exist in conversation with the old church next to the cemetery. Now, 10 years later, the stone and concrete have aged similarly, with green and black patinas blending them together. Another key element was the detailing. We aim for simple architecture that expresses how it was made—the materials, whether wood, stone, or concrete, should be visible and evolve over time.

The second project, La cabane de C et M, is a very small house in Lacanau, a seaside town near a forest and a lake. It’s just 70 square meters and we designed it as a very open space with a well-balanced plan. Each area has a clear function but remains flexible. The details are crucial—the windows extend from floor to ceiling, opening outward to create a seamless transition to the outside. The exterior is clad in burnt pine wood, a nod to the surrounding pine forests. These two projects really encapsulate the DNA of our office. They are small, but they contain everything we strive for. In the beginning, we had this approach unconsciously, but now we can say, this is the direction we want to go. 

Right now in Bordeaux, we’re working on a large-scale project, which is new for us. This involves the reconversion of a site occupied by a shopping center and a parking lot in the heart of the city, to transform it into offices, housing, shops and public space. Even though we started it four years ago, it's only now under construction. One of our biggest goals is to take on projects as both architects and clients. We have the knowledge to handle almost every aspect of a project, but we aren’t always recognised for it. So why not start with a small project where we control both the design and development? It’s something we’re thinking about seriously—creating a different model where we have more agency over the process.

Building efficiently with local resources

MH: In France, we have many regulations, often stricter than European standards, especially concerning climate and energy. This is changing the way we work. In our office, for example, we focus on designing efficient buildings that require minimal energy. We incorporate elements like solar panels, chimneys, thicker walls for insulation, and passive solar heating—simple yet effective solutions. This approach isn't about replicating traditional architecture but rather about learning from vernacular techniques while integrating modern materials.

We’re working on projects that focus on sustainable materials like earth, straw, and wood, pushing ourselves to integrate these elements more. For us, every project should be no more than two hours away—whether by bus, train, or car. This keeps us connected to the people and the context. The choice of materials depends on the region. For instance, in the southwest of France, we have a lot of pine wood, but it’s not widely used in construction. At the same time, we also have local stone. If you ask people from different parts of France, they’ll tell you about the materials found in their region—what’s in the earth, what’s available locally. This isn’t a new idea, but in recent years, more architects have been returning to these principles. Some more experienced architects, such as Bernard Quirot, have been doing this for a long time—prioritising sustainability and working with local communities. 

Doing and teaching

MH: Since we studied at the Bordeaux School of Architecture, it’s always been an important place for us. We’ve often talked about returning to teach, but we wanted to wait at least 10 years, to feel like we had enough experience to share. Before that, I don’t think we had enough practical knowledge. Teaching in a public architecture school in France isn’t easy to access—it’s part of the Ministry of Culture, which makes it quite specific compared to other countries. Since architecture schools here are public and tuition-free, we were given time to learn, and now we feel we can give back. Roberto teaches in the project studio, while I focus on art and representation. It takes about one full day a week, sometimes more, so it’s time away from the office, but it's also rewarding. Even though we only have a year of experience as teachers, it’s been fascinating to see how the younger generation thinks and works. These students are 18 or 19 years old, and they have their own perspectives. They also observe what we do, which I hadn’t really considered before. As architects, we tend to just work, work, and work, and suddenly, one day, you realise that others are watching. You are becoming a reference for the youngest generations, which is also a great responsibility.  

What impressed me most was when I participated in the entrance interviews for the School of Architecture. The students applying—who were around 17—were very focused on sustainability and environmental concerns. When I applied, my motivations were different—I wanted to build, to work with concrete and wood—but sustainability wasn’t something I considered deeply. Now, it’s a major factor for younger students, and I think that mindset starts even earlier, in high school. There’s also been a shift in how young architects see their role. Many want to be more directly involved in construction, to work with their hands, and to reduce the gap between architects and builders. When we started 10 years ago, we often heard from construction teams that they enjoyed working with us because we listened and collaborated, unlike the previous generation of more authoritarian architects. Today, there’s even more openness—young architects are exploring different ways to practise architecture that aren’t tied to the traditional model.