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We’re not really talking yet, but hey, Happy new year. 2019, seriously? 2019.

Yes, still off the radar. Merry Christmas. Night night.


We’re on break to investigate the meaning of the word ‘holidays’. What was all that about again? Get some rest and thank you.


Our recommendation for long winter nights: the wonderful and disarming masterpiece Shoplifters, by Japanese director Hirokazu Koreeda about a family of outcasts on the fringes of Tokyo. Utterly breathtaking and heartbreaking.


Francis Kéré on his first project – building a schook for his hometown in Burkina Faso – excerpted from our new issue mono.kultur #46.

The Gando School in your hometown is the project that brought you initial acclaim and attention worldwide. This was your student project that you began working on before you graduated. Was that always your plan?

When I began studying architecture, I knew I wanted to improve construction techniques and how people build in Burkina Faso; that was always very strong in my mind. I started attending extra workshops to get the skills and knowledge I needed. I was focused on just trying to build. While my friends were off to visiting places such as the Palace of Versailles in France, I would be thinking, ‘What for? Could you build that in Africa?’ Most students were designing ‘normal’ European projects. When I started to talk about my idea to build a school in Africa, some were surprised. Every day I would joke that I was just studying so I could ‘improve’ traditional African huts. Some of my peers really thought that’s what I was doing and would laugh because in their eyes, it was not architecture. But there were some who were really interested in what I was doing and said, ‘Finally, something useful.’

I started to think more about designing. Two of my teachers encouraged me to consider design as something to take seriously, something that could really add to the discussion of architecture. I made my first models, and then one of my teachers put a coin inside one to represent a first donation of support. It gave me the idea to make reproductions of this model and put them everywhere as donation boxes. I would nudge fellow students to smoke less or drink less coffee, and donate the change they saved. The process started in quite an amusing way, but that approach really became the basis for the project. From there I started going to shops and asking if I could leave a box to collect money. I realise I’m not talking much about architecture here, but this is such an important part of it all.

Image: Gando Primary School, Burkina Faso
Photography by Erik-Jan Ouwerkerk, Courtesy of Kéré Architecture


Dear Friends,

in our most colourful issue yet, we step into the life and work of architect Francis Kéré, known in equal measure for his lighthearted and innovative architecture, his remarkable background, and his infectious sense of optimism.

And his path is an extraordinary one: beginning in Gando, a small village in Burkina Faso, and moving all the way to West Berlin in the 1980s, where Kéré would end up studying architecture. His graduation project was the school Gando never had – built in 2001 with the help of the people it was designed for, the village community. It was also the starting point for his own practice that celebrates architecture as a fundamentally social act.

Since then, Kéré has completed numerous projects both in Africa and beyond, including schools, medical centres, cultural institutions, and temporary installations, such as the renowned annual Serpentine Pavilion in 2017. Frequently relying on local materials and infrastructure, his work is marked by a profound simplicity and refreshing lightness, meeting technical problems with surprising and seemingly effortless solutions. It reflects his attitude that architecture should, in its most primary function, seek to improve the lives of the people who inhabit it.

With mono.kultur, Francis Kéré talked about his long trajectory from a remote village in Africa to Berlin, his steadfast belief in optimism, and what makes a tree a perfect piece of architecture.

Designwise, we followed Kéré’s principle to work with what is at hand, sourcing papers from dead stock at our printers’, essentially using an assortment of leftovers. And colour, of course, with the issue based on the national colours of Burkina Faso, paying tribute to the idea of culture as a shared ground to build upon.

In short, mono.kultur #46 is the perfect remedy against dreary autumn days. Available as ever through our online store mono.konsum, or at the trusted book dealer of your choice very soon indeed.

Enjoy and all our best,


mono.kultur #46
“Architecture is a collective endeavour.”

Autumn 2018 / English / 15 x 20 cm / 48 Pages
Printed on Six Different Stocks of Paper

Interview by Fiona Shipwright
Works by Kéré Architecture
Design by Julie Gayard/jutojo



With mono.kultur #46, we turn to a singular career in architecture. Finally out next week.


Working with what is at hand: for our new issue mono.kultur #46, we selected various papers from ‘dead stock’ at our printers, essentially recycling leftovers from other commissions.


Today is a good day: today is the day our new issue mono.kultur #46 is going to print.