Interview with Florentin Mougin, Timothé Fiedler, Anne Sok

Could you introduce yourselves and share a bit about your background and approach to architecture?

We're Anne, Florentin and Timothé, three 5th-year architecture students at the Ecole Nationale Supérieure d'Architecture de Strasbourg (ENSAS) in France. The three of us have chosen to take a year off to do internships in agencies, gain experience and take part in architectural competitions. “My approach, a frugal and sustainable design linked to current and future environmental and social issues, but which allows itself some formal design follies, because architecture is there to experiment and have fun.” Anne "My architecture always has one goal: to create singular, joyful and playful spaces to amaze those who practice it. I'm looking for a kind of design that responds to these values, while at the same time following a pragmatic logic: to make people dream, but without disconnecting from reality." Florentin "I've always seen architecture as a game, a story to be told. Now that we're all aware of what's at stake, I want to use it to integrate the exceptional into everyday life, to look further afield, while thinking of those for whom we're doing it." Timothé For the three of us, architecture is an infinite field of experience, a game yet to be explored. For us, design is a little more than simply responding to constraints; it's about going beyond them and having fun.

What was your first reaction when you found out you were among the winners of the Kaira Looro 2025 competition?

First of all, we were very surprised, because we thought the winners would be notified in advance. We were at work that day, so we didn't look at the results until our lunch break. Some of our friends, who had already looked, sent us cryptic messages that we didn't understand at the time. When the results became clear to us, we exploded with joy and called our friends and family, to the point where we couldn't find the time to eat during the lunch break. Today, after a few days, we're still struggling to come to terms with it. We know that this marks a turning point in our studies and our young career, but we still can't get our heads around it.

During the design process, which aspects did you find most challenging or most important to focus on?

We'll start with what was most important to us in the design phase. We were unfamiliar with the way Senegalese schools operate. We therefore took the time to research needs and analyse local issues, so as not to impose our vision of the nursery school as we had done in France. It was also the first time we had to estimate the cost of a building and follow a defined budget. It was a delicate stage for us in many ways, but it enabled us to crystallize every element of the project, confirming or modifying some of them right down to the smallest details. Having no real experience in the field, we were worried about blowing the budget. So we went over the calculations quite a few times.

This year’s competition addressed a fundamental right: access to early childhood education. How relevant do you think this theme is in today’s global context? What can architecture do to promote this issue?

This theme goes beyond relevance, it is essential. In today's troubled and increasingly complex world, educating children is key. In our view, access to education is the best hope of meeting the challenges of tomorrow. This right must therefore extend to every region of our planet, even those that are disadvantaged or ostracised. We don't pretend to say that architecture alone will change things, but it is an initial vector of change that can breathe life into ideas, dreams and major developments, and offer users an opportunity. Evolving and growing up in comfortable, playful and stimulating spaces can give rise to inspirations, passions and vocations.

Could you briefly describe the concept behind your project and how it responds to the needs of children and communities in rural Sub-Saharan Africa?

The concept can be summed up in a few words. The nursery school is organised around a central gesture: a circle. This distributes the volumes, guides the circulation and frames a secure courtyard. Each built volume corresponds to an independent programme. This division makes it possible to build in several phases, allowing the school to be used even when unfinished. The volumes are dynamic and varied, interacting with local vernacular morphologies. This living ring becomes a space for meeting, waiting and informal learning. It responds to the needs of the children by offering playful and stimulating spaces, whether in the classrooms, the niches, the courtyard or the circular walkway that surrounds it, a protected intermediate space that can be used for several purposes. A great deal of attention has been paid to colour, choice of materials, lighting, humidity and temperature, so that the children can enjoy a lively, cheerful but above all comfortable school. The aim is to enable local children to enjoy not only a school (rare in the region) but above all a different place of education and learning.

How did local materials and construction techniques influence your design choices?

Our first consideration was the choice of materials and the construction aspect of the project. It was through these that we were able to blend the “European” architecture that we know, practise and build, with Senegalese architecture. The questions of ‘what local materials’ and ‘what construction techniques can be used’ were therefore omnipresent in our thinking about the project. The documents enclosed with the competition were also a real point of support for our constructive, aesthetic and atmospheric thinking.

Were there any particular inspirations for your project—such as past humanitarian works, references from developing countries, or previous Kaira Looro editions?

We drew some of our volumetric and constructive inspiration from Senegalese vernacular architecture. Before starting to think about the project, we looked at reports, articles and photos on how a Senegalese school works and identified areas for improvement that we could work on. Previous editions of Kaira Looro served as a beacon, a cursor for both graphic and architectural expectations, in order to get as close as possible to the competition requirements. However, we tried to dissociate ourselves from the projects themselves, so as not to simply repeat a well-thought-out design, but rather to draw one that resembled and inspired us. Finally, we used contemporary architecture from Senegal and the surrounding area as a reference, to seek a symbiosis between these and traditional methods.

In your opinion, how can architecture positively shape the educational experience of children in under-resourced regions? How might local communities perceive and engage with your design?

The architecture of the school is not just a framework for children's education, it is a real support for their development. By creating cheerful and unique living spaces, children and teachers can make the space their own and foster a healthy and stimulating education. In our project, we wanted to create different rooms, but also spaces that could be freely appropriated (walkway, courtyard) in order to offer informal and flexible spaces to adapt to freer teaching (outdoor classes for example). Above all, we wanted to recreate a village centre, a public space for the whole local community. We see the school as an open space when it is not in use. It could be a place for a rich local life of exchange and sharing, a real space for gathering and unity. Finally, the construction of the building has been designed so that it can be built largely by local residents, who will become attached to it as a symbol of the community.

What do you think are the responsibilities of architects when working on humanitarian and social development projects?

Firstly, the architect must respect the local culture, those for whom he is designing. However, he must not simply copy local codes, but must draw inspiration from them, understand them and use them to enrich the project without decontextualising it. In our view, they should not be content with the programme and the constraints given to them; they can push them as far as possible to go beyond what is imagined and offer something different to future users. In keeping with this respect for the local environment, architects must take a back seat when working on a site they know little about, so as not to impose a rigid, personal vision. They need to blend their vision with local issues and methods. Finally, the architect must be very careful not to take on the role of saviour. In all cases, his intervention will not be the only solution to the problems faced by local populations.

Part of the competition fee is a donation to Balouo Salo, supporting humanitarian projects in Senegal. Did this influence your motivation or perspective while participating in the competition?

We think this is a very honourable way of doing things. We were happy to know that the money from our participation was supporting humanitarian actions and local associations. As students, it's nice to know that the money we've used will go towards improving education. We think it's a great gesture to be able to combine our passion for architecture with humanitarian work. Practising architecture in a humanitarian context, which we had never experienced before, was a stimulating and motivating challenge, yes. Saving resources allowed us to concentrate on the essential elements. This difficulty helped us to push the project as far as possible for the Senegalese children.

Your award includes an internship with one of the most renowned architectural firms worldwide. What are your thoughts and expectations about this upcoming experience?

We are particularly honoured to have received this award. We know how difficult it is these days for young architects to get into world-renowned firms like Kengo Kuma's, so we are all the more grateful. Japanese architecture is an integral part of the references in the courses we took during our studies in France. The work of Kengo Kuma's studio has often been a reference for our personal projects. So it's a great opportunity for us to go and work there. This experience will enable us to discover a new culture that will enrich us with a way of living and thinking that is different from our own. We're well aware that this experience will take us out of our comfort zone, so it's a great challenge that we hope will open up a whole new world of possibilities.

Kaira Looro aims to offer professional opportunities to young talents. Where do you see yourselves in 10 years? How do you think this recognition might shape your future path?

Ten years seems a long time ago. Many possibilities lie ahead and everything is still unclear. So it seems difficult to answer this question. However, all three of us love sharing our passion with others. It is therefore possible that, alongside our professional activities, we will make teaching an important part of our lives. We think that this recognition could influence our future, or at least open doors for us and help us to move more easily towards what attracts or inspires us, whether that's architectural agencies, humanitarian actions or other avenues. This first prize is a real springboard. It allows us to project ourselves towards an international experience. We'd like to take this opportunity to thank the entire jury and the Balouo Salo Foundation for offering us this distinction.