Martin Duplantier, architect and urban planner, founder of Martin Duplantier Architectes (photo: Martin Duplantier Architectes) and Vlad Goldakovskiy, architect (photo: izba-ua.com)
Foreword
“Our latest interview with renowned architect Martin Duplantier, a visionary known for his work across Europe and an advocate for socially resilient urban design. Duplantier has been instrumental in several high-impact projects that prioritize both community engagement and architectural elegance. His firm, Martin Duplantier Architectes, has tackled complex urban challenges, from adaptive reuse of buildings to innovative public spaces that serve as platforms for social cohesion.
Beyond his European projects, Duplantier has also actively contributed to Ukraine's urban landscape, bringing his expertise in sustainable design and community-building to regions affected by conflict and instability. His recent work in Ukraine includes collaborations aimed at reconstructing war-affected areas, with an emphasis on the social dimension of rebuilding. In the interview, he shares how Ukraine’s urban fabric can be reimagined to foster resilience and inclusivity, even in the face of significant challenges.
Duplantier discusses the importance of designing for "living with the broken," a concept he champions as essential for cities recovering from crises like wars and natural disasters. He explains how architecture can be a tool to reinforce social ties, creating spaces that not only serve functional needs but also cultivate a sense of belonging and collective strength. With a focus on Ukraine’s future, he envisions urban spaces that support social unity through shared experiences, emphasizing the role of architects in fostering solidarity and resilience within communities”.
Vlad Goldakovskiy
Rebuilding Ukraine Through Architecture, Heritage, and Education
Martin Duplantier in Chernihiv, July 2022. Photo: © Alisa Koverda, lemoniteur.fr
Vlad Goldakovskiy: Could you please explain in a few words for the start, what you are doing in general and how did you appear in Ukraine?
Martin Duplantier: We have an office that is not only an architecture office, it is also dedicated to landscape design and to urban design. We have these three dimensions that we try to develop in every project. They're very complementary and are essential in our approach. And so we intervene at different scales, at the level of the city, of a neighborhood — how can it redevelop itself — and then at the level of a building, but also the public spaces, etc. So it’s somewhat an integrated vision. And we have been working, obviously, in France and Europe, but also in Africa and in Southeast Asia, as we've been called by clients, we've been taking part in competitions, won the competitions, etc.
My story with Ukraine actually began in 2015, when various universities invited me to give lectures. At that time, we were also contacted by Kyiv. And we were very happy to be active in Ukraine, because before Donbas and Crimea happened - it's hard to say now, but we were close to winning the competition in Moscow, and we were disqualified due to sanctions. After Maidan, after all this democratic outbreak, to participate in creating the history of a new Ukraine - I took it with very, very great enthusiasm. But then I devoted my time only to academic interventions. I was mostly invited by CAN actions, Vezha Festival in Lviv, Kharkiv School of Architecture, NAOMA.
Architects Martin Duplantier and Vlad Goldakovskiy at the Paris office of Martin Duplantier Architectes
And then in 2022, well, when the full-scale invasion started, I decided to do something first in France, because I was at that time the president of the French Architecture Association, and we opened about 300 positions for Ukrainian professionals: meaning not only architects, but also engineers, etc., people who had to flee. And I thought, actually, if I would be in this situation where I would have to flee, what would I do? Well, the best thing would be to do what I know and what my education brought me. And I thought that once the war will be over, all of these professionals will be able to go back and then share their expertise that they have been accumulating over the years in France. So that was the first thing.
Martin Duplantier: "Ukraine needs all its talents, its people, especially the youth. Flexibility in this is crucial"
V. G.: I know that you also established an office focused on preserving Ukraine’s architectural heritage. Was that the primary mission at the start?
M.D.: We started by mapping and documenting architectural heritage under threat from the Russian invasion. This work included mapping cities like Kharkiv, Mariupol, Sumy, Mykolaiv, and Odesa. We prepared a report on French-Ukrainian heritage in Odesa, highlighting buildings damaged or at risk. This experience underscored that as architects, our role in Ukraine was beyond design; it was about advocating for cultural preservation.
In the summer of 2023, just one night attack damaged 25 architectural monuments in the center of Odesa. On January 31, 2025, Russian forces again launched a massive missile strike on the historic center. Photo: odessa.online
To bring international awareness to the destruction of Ukraine’s heritage, we worked with UNESCO, surveying cultural losses across cities. Later, this project was handed over to local authorities, but we still keep an eye on heritage preservation, as these are the roots of the country. Ignoring this in reconstruction could lead to the same mistakes made after World War II, where historical continuity was often disregarded.
V. G.: You were mapping the architectural heritage of Ukraine. What objects you were mapping?
M.D.: We’ve been mapping places more than buildings. So we’ve been mapping Kharkiv, Mariupol, as long as it could be mapped, Sumy, Mykolaiv, Chernihiv, and Odessa as well. And, yeah, so even for the French President, Emmanuel Macron, who at some point wanted to come, we did a full chapter on Odessa, on architectural heritage, French-Ukrainian heritage in Odessa, what has been shelled, what is under threat of being completely demolished, etc. So when as an architect, you are put into such circumstances, you understand that your role is not only to be a designer, of course, it’s almost being a diplomat of carrying on and bringing awareness again, or advocating the cause of Ukraine and the cultural dimensions.
Vlad Goldakovskiy: "In times of war, when buildings and heritage are being destroyed, architectural education in Ukraine is also collapsing"
V. G.: It's a pity to say, you know, but as well as Russian aggression destroys Ukrainian architectural heritage, Ukrainian officials destroy the architectural education in Ukraine. I don't know if you're aware, but we don't have a restoration faculty in Ukraine in general. So there are no restoration architects in Ukraine available. There is only one department in the architectural faculty. It’s not even a faculty, just a little department in the architectural faculty in Lviv Polytechnic, and that’s it. There is no more architectural restoration in Ukraine. In the situation of war, in the situation where buildings are getting destroyed, and the heritage is getting destroyed, the architectural education also is getting destroyed. So the question is, how do you see this process of bringing the Ukrainian architectural heritage back? So would you provide some project of restoration involving some international experts in participating in this?
M.D.: We are working closely with École de Chaillot, which is a restoration, national restoration school in Paris, through which every heritage architect has to go through and get a stamp and etcetera.
V. G.: And they have special licenses in France to work as a restoration architect? So you have to get a license from there?
M.D.: Exactly. You have to get the license from Chaillot. And actually, on the first days or months, you know, when I was trying to get open positions for Ukrainian professionals, I got the support of Cité de l’Architecture and École de Chaillot saying, well, we can provide our expertise for rebuilding or for analyzing or for all the surveys that are necessary to help Ukraine. But again, I'm not the Ukrainian state in charge. So actually, I just provided the information and then say, well, we are at your disposal. Please let us know if we can do anything.
Chernihiv architecture with wooden finishes and carvings. An example of Art Nouveau. Photo: Vira Kuryko, localhistory.org.ua
And then I've been contacted by UNESCO, which headquarters are in Paris, and we've conducted together with them work on Chernihiv. So we came with a number of experts from ICOMOS and UNESCO. We spent one week once, and then they came back another week. It's a long process to get the UNESCO world heritage label, but there is the possibility of having an emergency protection status. And in the meantime, what we did with Expertise France, which is an agency that provides expertise to foreign countries, we motivate them to fund a program on wooden vernacular architecture of the region of Chernihiv. So we’re conducting it now at the moment : that's also a reason why we opened a secondary office in Kyiv, to manage the projects that are closer to Kyiv.
And it's very interesting to see that the majority, or the most peculiar part of your architecture, of your heritage, is actually the vernacular one. And we would like Ukrainians to also understand the value of it, not only the architects but also the people living in it, that there is a value, and probably you can develop a lot of things around it, not only in terms of comfort but also in terms of touristic leverages.
Exploring Hybrid Spaces and Architectural Restoration for Ukraine
V. G.: I’d like to ask about your initiative to help Ukrainian architects find jobs in France. How many architects used this opportunity?
M.D.: We opened about 300 positions, but not all of them were filled. There were actually more job offers than applications. I’d say around 100 architects found positions, but many eventually returned to Ukraine, which is a good outcome. That’s how it’s supposed to work. When I hear some German officials worrying that Ukrainians might go back, I think, my God, is this how you help a country — by taking its workforce and not wanting them to return? Ukraine needs all its talent, its people, especially young people. Flexibility in this is crucial. Actually, in those 300 positions, some architects worked remotely from Ukraine.
Martin Duplantier: "I spent the summer of 2022 with engineers from Israel, working with a company founded by former Mossad engineers who transitioned into civil construction"
The main office of Duplantier’s Ukrainian team is in Lviv, with a supporting office in Kyiv. The photo shows the Paris headquarters of Martin Duplantier Architectes
V. G.: Now, your office in Lviv — was it focused solely on restoration projects, or did you undertake other types of projects as well?
M.D.: Yes, we work on various types of projects. Restoration was just one aspect, but as we’re not a state agency, we have certain limitations. We identified education and health as key targets. Specifically, we started looking into how to adapt Ukrainian schools to new norms, including the need for shelters. I spent summer 2022 with engineers from Israel, collaborating with a company formed by former Mossad engineers who transitioned into civil engineering. Together, we ran simulations for shelters against Iskander and Kinzhal missiles. The results informed us of the concrete thickness needed for shelters, depending on the distance from impact. We presented these findings to Mustafa Nayem, recommending a review of shelter norms for schools. It’s a political choice, as a direct hit shelter would require four meters of concrete, which is impractical for every school. So where do we set the limit?
This led us to create an atlas of school typologies in Ukraine, about 80 in total. We’re set to publish a book next year, presenting adaptation ideas for ХХ century school buildings.
"When cities come back to life, schools are among the first places to be restored by communities," Vlad Goldakovskiy
V. G.: So this involved research on school typologies and proposals for their redevelopment. What ideas guided this work?
M.D.: The goal is to make schools more user-friendly, and more aligned with today’s educational needs. We need creative spaces, areas for interaction between classes, hybrid spaces — not just classrooms or playgrounds but spaces that bridge them. With today’s technology, tearing down and rebuilding all schools is unrealistic. Adapting what we have is a better approach, as there’s untapped potential in these structures. We’re also working with Zaporizhzhia Oblast on underground schools, examining how to bring daylight and healthy environments to these spaces. Our experiences from various parts of the world allow us to bring quality, even to extreme solutions like underground schools.
An underground educational facility in Kharkiv, equipped with radiation protection. Photo: Anton Avizhas (RFE/RL). Source: radiosvoboda.org
V. G.: Schools are often central to communities. I facilitated a project combining design visions for Mariupol with studios like Ro3kvit, Zotov and Co, Mriya, and Big City Lab. The core idea was for schools to serve as community hubs. When cities come back to life, schools are one of the first places communities restore. What’s your take on using schools this way? How could local communities respond?
M.D.: You’re absolutely right. Schools, being under the control of local governments, can more easily adapt to community needs. In Paris, we’ve recently opened schools on weekends for community activities. Playgrounds and outdoor areas are accessible, and even indoor spaces can be used for film screenings or exhibitions. It’s essential that schools serve beyond their usual function, becoming more than just classrooms and playgrounds used from eight to five.
V. G.: In Borodyanka, near Kyiv, after Russian forces retreated, everything was relocated to the school building. They set up a mayor’s office, document services for passports and marriages — everything in one place. In Soviet times, there was a typology combining schools, kindergartens, post offices, and mayor’s offices in a single building. Maybe it’s an idea worth revisiting.
M.D.: Exactly. Public buildings tend to have a low intensity of use, and hybridizing these spaces could improve this significantly.
Visualization of the future square along Heroiv Ukrainy Avenue in the Central District of Mykolaiv. Image from a presentation by Martin Duplantier Architectes, provided by Mykolaiv’s chief architect, Yevhen Polyakov
V. G.: Perhaps you could share how this project looks. We could publish some images, showing these proposals for school redevelopment. I’ve also heard about another project you’re working on, the Mykolaiv project. Could you tell us a bit about it?
M.D.: Sure, it’s focused on rethinking public spaces in a typical microdistrict. This case study could apply to similar areas across the country — a boulevard flanked by housing blocks from the 1970s, with a sort of undefined space in between. We’ve developed a small park in this area, demonstrating how public spaces, even in housing districts, can have quality. Ukrainian cities from the ХХ century are very green, but the quality of these green spaces could be greatly enhanced. This project tackles issues like managing heat, water, and greenery across seasons, welcoming various groups without rigid divisions like a playground only for kids or a dancing area only for the elderly. It’s not about creating an amusement park; it’s about making a space that different people can use simultaneously.
Architects Martin Duplantier and Vlad Goldakovskiy
V. G.: Does your Ukrainian team handle Ukrainian projects, or is there collaboration with the Paris office as well?
M.D.: The landscape team in Bordeaux has been heavily involved. For the Ukrainian projects, we maintain close contact with our Bordeaux office. Locally, Andrii leads the team in Ukraine, with additional shared expertise from our Paris and Bordeaux offices. It’s fairly straightforward: we bring expertise from wherever it’s available, organize workshops, and involve relevant team members. Then, we determine where it’s best to execute each project phase, from conception to design, to following through with construction.
Martin Duplantier: "The most inspiring thing is seeing the enormous motivation among the Ukrainian architectural and urban community. I am quite optimistic about the future, provided you can implement the necessary legislation at the governmental level"
Cultural and Public Space Projects in Ukraine Amid Challenges
V. G.: Let's speak about your funding partners or sponsors for Ukrainian projects. For example, I know that Mykolaiv won funding for parks from the European Bank for Reconstruction and Development (EBRD). We worked on the Mariupol project with USAID. GIZ also supports many projects like this. What about your projects in Ukraine?
M.D.: Yes, France supports us through Expertise France, which is their development agency. There’s also EIB, the European Investment Bank, among other donors. But it’s tricky to secure funding. Most of it, understandably, goes to the front line, with only a small amount left for other projects. But we do what we can with what we have. The most inspiring thing is seeing the immense motivation among the Ukrainian urban and architectural community. Forums, talks, and groups like the Lviv Urban Forum show this energy. I’m quite optimistic about the future if you can get the needed laws in place at the governmental level.
At the Ukraine Recovery Conference in Berlin, 2024. Photo: LinkedIn, Martin Duplantier Architectes
V. G.: Speaking of your projects in the Kyiv region, at what stage are these projects? Are they in the conceptual stage, or have any begun?
M.D.: We’re set to start construction on another project in Borodyanka soon, though I can’t reveal details just yet. It’s a cultural and sports center built with timber construction, which presented some unique challenges. We’ll be able to share more in about a month.
"We design reconstruction, but we must take into account the inertia of existing living conditions," — Martin Duplantier
V. G.: I heard about a project you’re working on in Izyum. Could you tell us more?
M.D.: Yes, we’ve published a few books on Izyum. The brochures include details on public spaces, urban regulations, and technical documents to help the city administration implement our vision. But the challenge is that while we can plan, people still live there. Even if many buildings are damaged, they’re still occupied, and funding is flowing in to repair them. We design for reconstruction, but we have to consider the inertia of existing life conditions. There’s a big repair happening, and reconstruction will follow, but we’re trying to steer it in the best direction. We don’t want to repeat the mistakes seen in the Balkans. Without a clear framework, there’s a risk of heading toward a similar situation.
Navigating Governance, Participation, and Vision in Ukraine’s Reconstruction
Two years after the liberation of Izium from Russian occupation, many sites in the city remain unrepaired. Photo: city-izyum.pp.ua
V. G.: How do you involve local communities and manage participatory processes in your projects?
M.D.: Since I’m not Ukrainian, I approach this through design methodology. Take a city like Izyum, which lost 60% of its population. The challenge was reaching these displaced inhabitants to understand their shared values and needs. Using the city hall’s database, we created a comprehensive questionnaire and conducted interviews, even with residents scattered across the globe. We collected valuable insights and tried to create a shared vision rooted in the people’s ideas. Of course, these residents aren’t urban planners, but their input gives us a sense of the city’s dynamics.
In Mykolaiv, we held local meetings and discussions to gather input. But the approach can vary depending on who participates — whether it’s grumpy folks or constructive voices, whether it truly represents the population’s diversity, or if it’s mostly retirees who have time to participate. This is a common limitation, even in France.
V. G.: When creating a vision, especially for an urban development project, there are often various layers. Which specific layers were you focused on in Izyum?
M.D.: In the Izyum project, we covered as many layers as possible, as it’s an integrated vision. We move from large-scale concepts to specific questions like what kind of buildings are appropriate and how Izyum’s heritage should be rebuilt. It’s a back-and-forth process, going from the big picture to the details. For me, it’s essential to work through these layers at least once. Then, with a team assembled, governance becomes the next focus. How do we move a project forward without the necessary tools?
Duplantier: "The Maria Prymachenko Museum in Ivankiv, near the Belarusian border, was the only building shelled in this area, a testament to the cultural front"
The historical and local history museum in Ivankiv, Kyiv region, which housed a collection of Maria Prymachenko’s paintings, will be rebuilt at a new location. Photo: www.village.com.ua
V. G.: Before we dive into politics and governance, could you tell me a bit about the Maria Prymachenko Museum project?
M.D.: The Maria Prymachenko Museum is in Ivankiv, a village near the Belarus border. It’s the only shelled building in the area — a testament to the cultural frontline. After visiting with the mayor and District One Foundation, we considered how to rebuild it in a low-carbon, historically respectful way. The museum will be a simple, two-story building in a beautiful environment overlooking the river. By using traditional carpentry, reusing rubble, and creating a community-oriented space, we envision the museum as a multifunctional venue, hosting both cultural exhibitions and community events. The idea is to maximize the intensity of use, making it a true place of democracy where people can meet, celebrate, share, and debate.
V. G.: Now, let’s talk about politics. You’ve previously mentioned governance as a major challenge in Ukraine. You’ve said there’s much to be done to support architects and urban designers in participating in Ukraine’s restoration. What do you mean by that?
M.D.: A solid reconstruction depends on a grassroots movement combined with top-down political will. This combination is crucial for developing sustainable frameworks for projects, whether they’re large-scale or small. Reconstruction is a short, medium, and long-term endeavor. Each project in Ukraine, from the reconstruction of Mykolaiv or Mariupol to something as specific as the Maria Primachenko Museum, must consider these timelines. Ukraine faces energy, independence, security, and economic challenges — all interconnected.
In France, for example, the state holds substantial power. The governance and legal frameworks provided by the state support the development of urban and architectural projects, helping drive positive change. Without a solid governance structure, it’s difficult for communities and cities to align toward a shared vision. This is particularly critical for large-scale projects like Izyum or Mariupol, where we need talented professionals — not only architects and urban designers but also those involved in public urban planning from a governmental perspective.
When we have an effective “ping pong,” or give-and-take relationship, between the different levels of government, it naturally brings the economy, industries, and more along with it. Local reconstruction agencies are incredibly necessary in Ukraine. For instance, every oblast (region) could benefit from a dedicated reconstruction agency — one that understands the region’s unique issues and can provide guidance to small villages needing rebuilding, as well as larger cities, managing these projects over the long term.
A great example of this is Louvain in Belgium, which was reconstructed very successfully. It wasn’t just because of a talented architect; Louvain had a local agency focused specifically on reconstruction. Right now, in Ukraine, everything falls on the mayor. If the mayor is great, the results can be great, but if the mayor is less effective, so is the outcome. It’s crucial to have an independent agency to support the process.
A project by Martin Duplantier Architectes, the Pierre Landais complex in Nantes, France. Completed in 2023, it includes 78 residential units and commercial spaces.
Vlad Goldakovskiy: "The loudest voice in Ukrainian urban planning today belongs to private developers, whose influence on policy results in inefficient urban spaces"
V. G.: In Ukraine, we’re working on creating an Urban Code because our current urban planning law frame is outdated, most of it a holdover from the Soviet Union. Soviet urban planning prioritized industrialization, creating copy-paste solutions to house factory workers. There was no humanitarian approach, which is why our Urban Code aims to unite communities, developers, policymakers, experts, and activists. But the biggest voice in Ukrainian urban planning is currently that of private developers, who often influence policies in ways that result in poor urban spaces, as we see in Kyiv. ineffective urban spaces, as we see in Kyiv.
M.D.: Indeed. Poor-quality buildings and spaces are not only visually unappealing, but they’re structurally unsound. In fact, the buildings that resist Russian aggression the least tend to be the newer constructions.
"A project itself can shape the rules, rather than being bound by a strict set of regulations dictating its form. We call this 'project urbanism," — Martin Duplantier
V. G.: How does urban planning work in France? Do you have a national urban code, or some kind of overarching regulation?
M.D.: Yes, in France, we have a national urban code and various national norms. We’re also working to streamline these with the European Eurocode. Local urban codes are revised every six years or so, and they remain adaptable throughout these cycles. This flexibility is essential — it’s a “living” code, not a rigid master plan. We call it “project urbanism,” where the project itself can shape the regulations, rather than having a strict set of rules that dictates how the project should look.
V. G.: You were president of the French Architects Association. How does this organization influence urban planning processes?
M.D.: I was president of the Architecture Association, not to be confused with the Chamber of Architects. The association is broader; it represents architects, developers, public agencies, and engineering firms. It’s an NGO-like association dedicated to the quality of architecture, not to protecting architects. This broader representation allows us to present a unified front to the government, which strengthens our lobbying efforts.
V. G.: How does your association maintain dialogue between developers, public bodies, and architects?
M.D.: We organize monthly visits, conferences, and study trips. Around 50–70 people might spend four days together visiting projects and discussing ideas. This builds friendships and a community focused on architecture, helping everyone listen to each other and work toward shared goals.
Before the Future. The Ukrainian Pavilion at the 2023 Architecture Biennale, created by Iryna Miroshnykova, Oleksii Petrov, and Borys Filonenko. Photo: stirworld.com
V. G.: One last question — about the Architecture Biennale. What project are you working on, and what’s it about?
M.D.: Our project for the Biennale ( Venice Architecture Biennale2025. — Ed. note) is centered on instability and risk, examining how architecture can serve as a tool to handle various threats, from climate to geopolitical. We’re reaching a point where 70% of people live in cities, but most of these cities are under threat, especially from climate risks. Architecture must adapt, and we should avoid simple, engineering-only approaches. For instance, during war, a bunker may be essential, but after the war, that bunker could serve other purposes.
For the Biennale, we organized an open call, receiving remarkable projects worldwide. Our pavilion in Venice, however, will be unconventional. Since our building in Giardini is under renovation, we’re using the scaffolding around it to extend into the surrounding forest and canal. This “open shelter” will create a non-pavilion that lets visitors experience nature and architecture in an open, adaptive way.
We’re planning to hold discussions around the city, as the pavilion doesn’t have enough space. We’ll set up chairs and place them in different plazas with a schedule of discussions, enabling the community to shape ideas.
"Martin Duplantier emphasizes that restored spaces should become environments for renewal and unity — places where residents can begin rebuilding their communal life with strength and dignity," — Vlad Goldakovskiy
Architects Martin Duplantier and Vlad Goldakovskiy
Epilogue
“As our conversation draws to a close, Martin Duplantier’s reflections on the potential for architecture to foster resilience in post-war Ukraine offer both a sobering and hopeful vision. He emphasizes that the path forward for Ukrainian cities, particularly those like Mariupol that have endured profound losses, will be about creating spaces that go beyond traditional architectural forms. Instead, they must become environments of renewal and connection — places where residents can begin to rebuild their shared lives with strength and dignity.
For Duplantier, this mission is more than just a professional endeavor; it's a deeply personal commitment to supporting Ukraine's recovery through meaningful urban design that respects cultural identity and encourages community healing. His approach champions architecture as a force that can unite people, providing a sense of belonging and safety in times of profound instability. As the final words of our interview, Duplantier leaves us with a poignant reminder: in rebuilding, Ukraine has an opportunity to set a new standard for how cities around the world can cultivate unity and resilience, even in the face of seemingly insurmountable challenges”.
