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The Canadian Interiors Best of Canada Awards has long been a premier national program celebrating the highpoint of Canadian interior design. This year continues that tradition by honouring some of the most prolific and forward-thinking designers our country has to offer. Selected through a rigorous multiround voting process by a jury of distinguished designers and industry experts, the winners represent the very best in design excellence, creativity, and innovation across various fields. The significance of this national award program cannot be overstated: it not only shines a spotlight on outstanding talent but also establishes a legacy that future generations of designers will look to for inspiration. The extraordinary work submitted in all categories offers invaluable insights into how today’s designers are shaping the future of built environments, driving forward-thinking approaches that challenge conventions and elevate the industry as a whole.
The Best of Canada Awards stands as a beacon, celebrating design excellence without prejudice to dimensions, budgets, or locations. Whether from large firms or smaller studios, the winners exemplify the highest standards of design, demonstrating a remarkable balance of form and function. The award is more than just a recognition of technical skill and creativity; it is a testament to the thoughtfulness and distinction that continue to define Canadian design. It is also an implicit recognition of the ability to successfully communicate a piece of design. In an era where “everyone’s a content creator,” this award program underscores the importance of both architectural photography and storytelling skills in enhancing our understanding of design, rather than merely documenting it. The visually striking and conceptually profound entries this year will undoubtedly inspire the next generation of designers, leaving a legacy that will guide and shape the future of the industry.
As always, the two categories of Projects and Products require distinct judging exercises, which were held on separate days, both at Kasian Architecture and Interior Design in their Toronto studio and with their generous support. A dedicated and discerning panel of
David Quan
By Peter Sobchak
design professionals took on the challenging task of reviewing submissions, meticulously selecting this year’s corps d’elite. Their hard work and expertise are the true backbone of this celebration. For Projects we enlisted four judges with diverse spectrums of experience and specialization: Joanne Chan, principal at SDI Design; Maria Denegri, principal at Denegri Bessai Studio; William Dewson, principal architect at Dewson Architects; and Madeline Kurpeikis, founder and principal designer of Elbo Studio. On the Products side, three judges put their in-the-trenches expertise to work analyzing a difficult category: Kate Tessier, owner and principal of Kilowatt Kate; Cathy Knott, a principal at Kasian Architecture and Interior Design; and David Quan, an associate professor at OCAD University and practising industrial designer for a variety of Canada’s largest retail manufacturers, vendors and consumer facing stores.
Ultimately, a total of 30 winners were chosen, which include five Products and 25 Projects representing a cross-Canada spectrum. When it came to selecting Project of the Year, the judges spoke glowingly about House on the Park at every stage of the process. “This exceptional interior project elegantly marries traditional charm with modern sophistication, crafting a space that is harmonious, inviting, rich in engagement and uniqueness,” enthused Joanne Chan, a sentiment echoed by Madeline Kurpeikis, who went on to note that “The design team has created a cohesive design story where each room shines individually yet speaks to one another. This timeless renovation exemplifies ‘good design,’ setting a new standard that promises to stand out for generations.”
The Best of Canada Awards also continues to celebrate the exceptional work of Canada’s interior product designers, with the honour of Judges’ Pick going to Pearson Lloyd and Teknion for the Aarea conference chair for inspiring “a vision of what a chair succeeding at using minimal components, recycled material, and considering circularity would look like,” according to Kate Tessier. “It succeeds at uniting the concept of circularity with a successful design aesthetic.”
Congratulations to all 30 winners!
Joanne Chan
William Dewson Madeline Kurpeikis
by Peter Sobchak and David Lasker
PROJECT OF THE YEAR
House on the Park, Toronto Superkül, Toronto
The House on the Park represents a masterful synthesis of restoration and contemporary intervention, revitalizing a century-old Edwardian residence with sensitivity and innovation. The project addresses the inherent challenges of a heritage-listed property, transforming dark, congested spaces into a coherent, light-filled environment. The original structure, marked by narrow stairwells, disjointed levels, and decayed cornices, has been meticulously restored while embracing a renewed architectural vitality.
A new wing, seamlessly connected by a glazed link, introduces a modern kitchen, sunroom, and expanded living spaces, all thoughtfully oriented towards Lake Ontario. The sunroom, framed by custom bronze screens and marble-inlaid steel columns, stands as a testament to the careful dialogue between old and new, with daylight filtering through an ocular skylight to illuminate the heart of the home. The spatial arrangement fosters fluid interaction between the kitchen, dining, and living areas, with glazed doors that open to the landscape, enhancing both light and ventilation.
Restoration of historical elements, such as the living room’s Zodiac ceiling, is complemented by bespoke additions: oak thresholds, bronze hardware, vibrant marble features and a dining room mural by Tisha Myles suggestive of Georgian Bay white pines. On paper these may sound disparate, but the designers blend it all to create just the right amount of visual complexity, reminiscent of Frank Lloyd Wright. The design reaches its zenith in the sculptural staircases, where advanced 3D modelling enabled the creation of continuous curvilinear forms across all storeys, reflecting both the home’s grandeur and the precision of modern craftsmanship. The resulting residence honours its past while confidently stepping into the present. PS
“The interplay of hue and tone between the original exterior brick and limestone of this Edwardian century home and those of the contemporary interior forms and materials sets the foundation for this exquisite restoration, renovation, and addition. The fresh interpretation of the archways of steel cross columns with quarter round marble inlay and flanking bronze screens framing compliment the classic axes to the ocular domed sunroom, all in hues of tan, wheat and beige. The backand-forth conversation between the new and old is everywhere, between the marble hearths and Zodiac ceiling, classic herringbone floors done in wide plank, the sensuous, curved stair within the beaux arts spatial sequence of entrance portico, foyer, stair atrium. This is masterful work.” — William Dewson, principal, Dewson Architects
Text
Meaningful Design to Inspire People’s Lives
LE CHIC BOHÈME COLLECTION
KITCHEN - JARDIN EM ERALD
Melba Restaurant, Québec City
Appareil Architecture, Montréal
Walk through the doors and the restaurant’s stark exterior vanishes, revealing a warm, inviting space with tones reminiscent of its namesake: melba toast. Inspired by the yellow and plum hues of old French bistros, the central island flaunts porcelain with burgundy veins and copper accents, exuding Art Deco luxury. The design is rich yet focused: veined ash walls, semi-octagonal island, gleaming porcelain, and an angled bar niche. It’s not just a visual feast: textured leather and velvet seats, smooth ceramic accents are all begging to be touched. Curved benches, layered chandeliers, and graphic lighting soften the space’s straight lines. The layout naturally divides into four sections: classic tables, bar, central island, and a long bench with five tables. The island, with its wine bath, steals the show, perfect for aperitifs. The kitchen, framed in wood and frosted glass, maintains intimacy while connecting with guests. This cozy 36-seat gem blends warmth and metal, comfort and spaciousness, in a lively, festive atmosphere. PS
The Ballroom Bowl Yorkville, Toronto mcCallumSather, Hamilton, Ontario
This ain’t your uncle’s bowling alley. Gone are clichés of plastic benches, rows of video games and scents of stale beer and malodourous shoes. Instead, patrons are greeted by a stunning wood feature ceiling with integrated lighting and a city collage wall graphic celebrating Toronto and Hamilton. On the lower level, bowling lanes with top-notch acoustics and upscale finishes immediately draw attention but are balanced by a dining area with cozy booths, feature lighting and a three-sided water vapor fireplace. The bar shines with walnut and brass detailing, hidden TVs, and an open kitchen view. For those seeking exclusivity, a VIP Area boasts private bowling lanes, leather couches, and large-screen TVs. Despite initial site constraints and limited Yonge Street frontage, clever design solutions created a dynamic, street-level entry that flows seamlessly into a rousing, cohesive venue. This is where comfort meets fun, and striking out isn’t a bad thing. PS
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Basalt Cedar Woods Limestone Magnolia
Montecito Mountain Ridge Oak Ridge Redrock Sunset
Abrielle, Toronto
DesignAgency, Toronto
Stepping into Abrielle is like walking into the warm embrace of a well-travelled friend’s stylish home. Housed in the Westinghouse building, one of Toronto’s few remaining examples of Chicago School architecture, the design team’s primary task was to refurbish an interior butchered by previous tenants. The result is an open-concept layout that seamlessly connects a casual lounge, a glamorous bar with a prime corner window, and an intimate dining area offering glimpses into the bustling kitchen. This place hums with energy and Mediterranean charm, as if the coastal breezes of the Med were transported downtown. Rich textures abound—stone, leather, porcelain, and wood—each surface meticulously adorned. The ceiling, walls, and floors transform into decorative moments. Against this envelope, streamlined furniture shapes, oversize pendant lights, eclectic gallery walls and a whimsical hand-painted mural intentionally upend expectations, creating a space of style, character and wit that feels collected over time. PS
Meet Dais
The fluid blend of beauty, function and sustainability.
Bar Henry, Edmonton McKinley Studios, Vancouver
Real horn cufflinks. Mother-of-pearl tie clip. Silk pocket square. Hand-sewn lapels and reinforced stitching. On a well-designed suit, details matter and every inch counts. This has been a truism for 85 years at high-end menswear retailer Henry Singer, so naturally it was applied to Bar Henry, a culinary haven seamlessly integrated into the new flagship store. Inspired by European luxury, this intimate space exudes connoisseurship and opulence. Despite its compact size, the design team maximized functionality and flow, ensuring every square inch serves a purpose. The concept draws from the refined aesthetics of cigar boxes and the sleek lines of Italian Modernism: rich burled walnut contrasts with chrome accents, while bespoke furnishings—from dining sets to barstools—ooze tailored intimacy. Look over and two tables down Don Draper may wink at you as he sips an Old Fashioned. PS
Occupying space that used to house stables connected to the 19th-century Royal Hotel, the entirely new Annex reimagines a charming shed in harmony with the new gardens, porches, and pool of the Royal Hotel. Inside, a set of intimate stairs, just wide enough for two, are flanked by a striking chartreuse guard that is a shot of colour in the otherwise earthy palette of concrete floors, bronze screens, and Kebony wood cladding. The space expands at the stair landing—punctuated by a custom pendant light—into a strategically lit corridor decked in ceiling-to-wall Tectum panels. The top floor’s five rustic suites maintain the main hotel’s attention to detail, with floor-to-ceiling wood volumes defining each entrance. Concrete floors and exposed Kebony cladding give a sense of evolution over time. Each suite boasts ceiling ‘scoops,’ wood rafters, and wool felt chandeliers, while unique touches like a continuous stone bench with a farm trough sink and metal backsplash add to the eclectic charm. PS
Royal Annex, Picton, Ontario
Giannone Petricone Associates, Toronto
Haute couture meets interior design
Architecture Counsel, Toronto
A school with a unique approach to its programmatic intentions—”the only independent high school in Toronto to occupy space within an existing high-rise building”—also took a unique approach to its interior design. Occupying the podium level of a 66-storey condominium (originally intended for retail), an elegant feature stair bathed in natural light greets visitors with a sense of release. This dramatic stairway doubles as a vibrant social hub, encouraging student interaction. The heart of the school, the Market Place, is a dynamic social and event space visible from the entry, infusing the area with energy. Refined design permeates the interiors, with finishes like curved glass, wood floors, and veneered walls creating a smartness not typically found in high schools. Thoughtfully selected furnishings emphasize comfort, durability, and flexibility. A large display window in the art room and a gallery of student work injects life and colour, enriching the school’s unique ambiance. PS
Kingsway College School Senior School, Toronto
The existing structure, originally designed by Fairfield & DuBois in 1971, was certainly dramatic with its monumental interior balconies, curved ceilings and stark brutalist concrete finishes. But it needed upgrades. TPL first planned to replace the building but went with the design team’s proposed renovations instead. The redesigned ceiling, featuring Douglas fir slats and undulating geometries, transforms the interior into a warm, biophilic haven, contrasting the concrete walls. This prefabricated slat system integrates acoustic dampening, lighting, ventilation, sprinklers, and conceals mechanical elements. Organic wood handrails enhance tactile engagement. New windows on the east and west elevations flood the space with natural light and frame views of the landscape, neighbouring school, and streetscape, fostering a strong connection to nature and the community. The bright red elevator core and white Corian information points exemplify intuitive wayfinding. Indigenous designers contributed a medicine wheel garden, native plantings, and an indoor/outdoor mural, ensuring the library remains a culturally relevant space for Toronto’s Indigenous communities. PS
Toronto Public Library - Albert Campbell Branch
LGA Architectural Partners, Toronto
Churchill Meadows Community Centre and Sports Park, Mississauga, Ontario
MJMA Architecture & Design, Toronto
The Community Centre, wrapped in expansive glazing at ground level, invites the outside in. Its entrance, clad in white standing-seam metal, welcomes visitors with bold, faceted angles. Inside, spaces are organized into two main sections: the eastern section houses changerooms, a teaching kitchen, and multi-purpose rooms, while the western section features a triple gymnasium, lobby, and aquatics hall. A continuous, microperforated membrane ceiling in these double-height spaces diffuses natural light from sawtooth skylights, creating a serene, cavern-like atmosphere without glare or excess heat. The lobby’s skylight bathes a generously proportioned switchback stair in daylight, guiding visitors to the mezzanine. This dynamic stair, ideal for gathering and lingering, offers views of the pools, gym, and park. Transparency is key: glazed corridors and lobby reveal internal activities to arriving visitors, making them feel instantly connected to the surrounding park. From any vantage point, panoramic views through the glulam columns integrate the park with the building’s lively interior. PS
REDEFINE INDOOR SPACES
INDOOR SPACES
Skycove is a projected glass structure that provides expansive views and captures light from three sides and from above. It’s an intimate space to disconnect, relax, and rejuvenate. While cozy for one, the seat can reach up to 20 square feet, which is large enough for multiple people. When hectic schedules and frequent distractions limit time spent with friends and loved ones, Skycove presents a unique and inviting place that can encourage people to gather and share their lives.
Skycove is a projected glass structure that provides expansive views and captures light from three sides and from above. It’s an intimate space to disconnect, relax, and rejuvenate. While cozy for one, the seat can reach up to 20 square feet, which is large enough for multiple people. When hectic schedules and frequent distractions limit time spent with friends and loved ones, Skycove presents a unique and inviting place that can encourage people to gather and share their lives.
D.B. Weldon Library, London, Ontario
Perkins&Will, Toronto, in joint venture with Cornerstone Architecture, London, Ontario
Designed by John Andrews in 1968, the Brutalist icon at Western University stood as a testament to an era of bold architectural expression but had become outdated and fragmented. The renovation aimed to honor Andrews’ Brutalist vision while transforming the space into a bright, inspiring destination for modern learning. The heart of the building now features a dynamic, daylit Learning Commons that reconnects the Great Hall to the mezzanine, creating a vibrant space for studying, socializing, and community engagement. The renovation introduces new floors, sculptural lighting, and varied furnishings that enhance the Brutalist character while making the space lighter and more adaptable. Open study and work zones replace previously enclosed, light-blocking areas, promoting better access to light, air, and greenery, which supports user well-being. Integrated acoustic treatments allow for undisturbed collaboration, and new plantings bring nature indoors. Gender-neutral washrooms, improved signage, and custom displays enhance navigation and accessibility, enriching the library experience while preserving its Brutalist roots. PS
Conestoga College Cowan Centre for Medical Sciences & Biotechnology, Kitchener, Ontario Gow Hastings Architects, Toronto
Beyond merely updating classrooms into advanced research labs, the mandate was to “put science on display.” The shallow building footprint allowed for layered glazed openings, making the labs visible from various angles and offering views of the adjacent woodlot. Internal glazed panels create moments of visibility into the controlled research environment, turning once-hidden activities into a vibrant showcase. Colour plays a pivotal role in this transformation. Brightly coloured doors and flooring give each lab a distinct identity, aiding navigation and adding a sense of place. Floor-to-ceiling green glass panels frame outdoor views, connecting the labs to the surrounding forest and providing visual respite for researchers. This strategic use of colour and transparency not only enhances the neuroaesthetic experience but also fosters a dynamic, interconnected scientific community. A custom illuminated signpost and vibrant green lettering on the floor spell out “Biotechnology” and “Medical Science,” lending the space an abstract yet identifiable character. PS
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The new Calgary branch of law firm Stikeman Elliott occupies 41,600 square feet split between the 41st and 42nd storeys of Banker’s Hall. The focal point is the U-shaped connecting staircase where a metalwork cage, resplendent in powder-coated gold, wraps the stairway opening. The gridded pattern of its woven metal mesh makes for a striking structural element that also meets fire-code requirements. A Fifties-retro aesthetic, unexpected in a whiteshoe law firm, is playfully evident in the elevator-lobby sconces conjuring up miniature Noguchi lampshades stacked like cocktail onions on a toothpick, flanking the elevators; the Knoll Womb chair-evoking seating in the adjoining bay-windowed lawyers’ lounge; and in the slick, spun-metal gold-coloured pendent lampshades illuminating the island in the café. They contribute to Kasian’s stated goal “to enhance the employee and visitor experience by blending aspects of hospitality and high-end residential design
Blue, Toronto Williamson Williamson, Toronto
The new 2,550-sq.-ft. Toronto outpost of a New York-based asset management firm brands its workspace with a series of acoustically absorbent, full-height, rounded-edged blue felt-wrapped volumes housing support rooms, media cabinets and closets. Their overscale bulk and flat, undifferentiated expanse make them a subtly jarring, even surreal, insertion in the meticulously tailored, minimalist interior. As cool-toned vertical colour-blocking elements, they complement the warm horizontal planes of the raised oak floor and the dropped gridded oak ceiling. Private offices line the windows, where the existing exposed aluminum curtain wall was transformed into a painted fin and spandrel system. In a gesture to the democratic workplace, daylight streaming into the private offices passes through to the open-office bullpen, privacy being managed by reeded-glass partitions framed by a painted-fin lattice. DL
Maurice Law, Calgary McKinley Studios, Vancouver
As Canada’s first and only Indigenous-owned national law firm, Maurice Law wanted its cultural identity to figure in the design of its new Calgary head office, though in an understated way, without resorting to cliché visual stereotypes. To that end, the designers appropriated the culturally significant geometric form of the circle and the four cardinal directions in devising the project’s most prominent feature. Four corridors, emulating the compass points, radiate from the third-floor rotunda and terminate in an iconographically significant sculpture. Throughout, the materials palette takes textural and tonal cues from the Prairies and the firm’s Indigenous roots; the dark oak millwork is reminiscent of evergreen tree trunks in a forest glade. Even the Brutalist concrete coffers of the existing waffle slab ceiling play their part in the interior’s homage-to-nature theme with infill lighting panels whose glow creates a metaphorical sky. DL
At The Well, eye-surgery clinic Lumea’s newest branch inverts the conventional progression of public waiting room and closeted treatment areas. Here, the primary procedure room and its centrepiece refractive laser equipment, for reattaching a torn retina, say, are pulled to the front of the space facing the pedestrian concourse; a glass-block wall provides privacy. Upon entering, patients proceed to the reception area where they are greeted and ushered through an undulating corridor to a quiet lounge with high-back upholstered seating. The visual and acoustic separation from the front of house allows for meditation and rest in the moments preceding or following a procedure. Anyone who has waiting for pupil-dilating eyedrops to take effect—the first step in a typical eye exam—will appreciate such a dedicated facility. Such passive, environmental treatment is a key aspect of Lumea’s protocols for patient care and recovery. DL
Lumea, Toronto Reflect Architecture, Toronto
Copyright Major League Baseball, Courtesy of STUDIOS Architecture, Photography by Eric Laignel
The Vessel, Toronto dkstudio Architects Inc., Toronto
The Vessel is an office renovation for a financial firm in Bay Street’s Art Deco-style Canada Permanent Building. In its as-found state, the aged offices and meeting rooms on the tower’s uppermost two storeys were in disrepair. Their beautiful heritage elements, however, merited preservation. In the 17th floor, the main hall was remade as a focal point or “vessel” within the building, its century-old panelled walls, crystal chandeliers and arched plaster ceiling restored, including the ceiling’s handmade plaster medallions and sculpted wreaths. The old doors were removed, and their openings enlarged and framed with minimalist bronze thresholds. The classical setting contrasts with the new workstations arrayed in central bench formation on an abstract black-and-white carpet. On the 18th floor, the mechanical penthouse was transformed into new offices and a social hub with bar and café. On the rooftop terrace, a golf simulator breaks down barriers and helps close business deals. DL
Unfinished House, Tiny, Ontario Workshop Architecture Inc., Toronto
Imagine a house speaking the rural Ontario vernacular design language, with interiors clad in sheets of plywood. The sight of all that floor-to-ceiling warm, swirly grain patterning is made less potentially oppressive by the building’s cathedral ceiling and abundant natural light. Insulation lays outside the vapour barrier, allowing the plywood sheathing and wood framing to be left exposed for visual interest and to create small storage shelves. Because the project was designed to Passive House standards, it has very thick external walls and deep windowsills. To ensure usefulness, the sills were deployed at seating, desk and counter height. The name of the 1,400-sq.-ft. home refers not just to its appearance but also to its reduced use of materials. The exposed frost-protected concrete slab foundation serves as the flooring. The screened porch lacks the soffit that typically hides the underside of the roof deck and wood framing. Where multiple two-by-six studs form a column, they are left as is, without being upgraded to solid wood or glulam. DL
“Liminal” can be defined as “poised on the threshold between two places” or, in this case, between ocean and land. The so-named house sits on the British Columbian seashore and was built with materials (concrete, stained Accoya wood and aluminum plate) that resist the tough conditions of the site, where gale-force winds can transform logs into battering rams. Concrete fin walls inserted into the site’s cliff face and joined by a colossal concrete beam support the cantilevered upper floor, containing the bedroom suites. On the main floor, courtyards filled with greenery and the extension of the landscape with a flooring of sintered stone dissolve the boundaries between inside and outside. Large, glazed areas with slender vertical aluminum profiles, and the living room’s slim suspended fireplace, ensure unobstructed views out. Thanks to the house’s triple-storey lightwells and a grand, sculptural oak staircase, there’s plenty of drama to take in inside too. DL
Liminal House, Vancouver
McLeod Bovell, Vancouver
Hufton+Crow Photography
Tremblant House, Mount Tremblant, Québec
Daoust Design, Saint-Eustache, Québec
This six-bedroom country house features a master-suite wing and another, with built-in double bunkbeds, for kids and grandkids. In addition to the de rigueur three-seasons room with a wall that opens to the great outdoors, the gym, sauna and wall covered in trailbikes, there is a clandestine retreat for the adults: a cozy secret bar concealed behind an ordinary-looking closet door, with winter landscape photo murals and a British pub closing-time bell. Notable custom features include pendant lighting on curlicue stems springing from the hollows between the paired white wooden rafters supporting the great room’s cathedral ceiling. The main stairway boasts a half-inch-thick white-painted solid metal-plate balustrade that rises 36 inches from the floor, then curves 90 degrees to form a flat, four-inch-wide handrail. And, as a foil to the prevailing Modernist style, the great-room’s fireplace surround and other feature walls inside and out are made of a rustic-looking stone mixture resembling honey-nougat (the white mortar) candy with almonds and pistachios (ashlar sticks in random sizes and shapes). DL
While Moshe Safdie’s Habitat 67 housing complex of terraced prefab Brutalist concrete boxes is hard-edge on the outside, this recent renovation of three conjoined units has soft edges on the inside. Wood warm panelling with prominent grain patterns, configured with curves and carve-outs, sheathes long stretches of the interior; a subtle grid of vertical reveals breaks up the wood expanse into modular components. The panelling was meticulously finished and installed and lacks baseboards or quarter-round mouldings. The panelling emphasizes the surprising thickness of the exterior walls with sills at the base of the window embrasures that extend to form sculptural benches. The panelling recurs in the kitchen, bestowing a unified, tailored, customized appearance to the appliance door fronts. That Sub-Zero look, so to speak, continues in the wood-panelled corridor to the bedrooms, where doors and closets are faced in the signature veneer. In the white sheetrock walls of the kitchen-dining-living-room area, display niches lined with the signature wood rise in tandem with the glass-railed stairway, the niches exerting a disciplining tidiness on the random bric-a-brac. DL
Drew Hadley (top) / Maxime Brouillet (below)
unCover / reCover House, Toronto large [medium] design office, Toronto
The old and new happily coexist in this gut and renovation of an 1890 Victorian semi-detached house. The interior was peeled away to the perimeter load-bearing walls, exposing the original variegated brick, whose irregular patches of ochre and burnt umber play off against the honey-toned mashup of headers and stretchers. The bricklayers never suspected that their handiwork would ever see the light of day, nor that the walls would be esteemed for their now-fashionable industrial-loft aesthetic and characterful link to history. What’s new and different here is the way the new white drywalled shell insert, with its myriad chunky sinuous sculptural bulkheads, stair balustrades and newels, frames picturesque peekaboo vignettes of the heritage bricks. The original façade was maintained, its three stained-glass units salvaged, refurbished and reinstalled behind new insulated protective glass. In the new open-plan interior, the afternoon sun projects the colourful stained-glass patterns onto the white interior walls. The attic, now the master suite, is a high space with high drama where the gabled main roof and dormer roof intersect. DL
Railcar House, Toronto
Post Architecture Inc., Toronto
The narrow width, just 13 feet six inches, of a semi-detached house in Toronto’s Little Italy neighbourhood, and its poky hallways and rooms, cramped the owners’ style. It limited their ability to host dinner parties, crowded their extensive art collection and reduced their furniture choices. Two strategic additions and a gut renovation made the house’s proportions feel spacious. The first intervention was to eliminate hallways and organize the functions as a series of connected spaces or railcars. Each “car” stretches the full width of the house with a slight compression only at transitions. One addition made room to reposition the entry vestibule from the side to the front of the “living car,” making room for a sectional armchair and customized, built-in seats by a sculpted fireplace. The second addition, flanking the kitchen, added space for an island. The main staircase was reconfigured from switchback to linear, reducing the floor space needed for vertical and horizontal circulation. DL
Riley Snelling Photography
Burden’s Point, Salvage, Newfoundland Reflect Architecture, Toronto
This project encompassed the renovation of two neighbouring heritage saltbox houses and a shed into a seasonal residence and guest-house campus. Located on a peninsula accessible only by boat or foot from the fishing village of Salvage, Newfoundland, population 108, the structures are visible from passing boats. The client and architect wanted the design, therefore, to remain rooted in the local context and minimize impact on townspeople’s views. Indeed, the buildings look like simple and traditional, but well-maintained, Maritime houses. The interiors gently update the local vernacular while adding comfort. Walls are finished primarily with white shiplap, a more interesting and context-sensitive surface than drywall. The exceptions are the colour-blocked bedrooms, where orange and green were applied across floors, ceilings, walls, beds and lamps. Kitchen millwork was made of Baltic birch plywood and butcher-block surfacing to evoke locally available materials and fabrication methods. Furniture was selected to convey the spareness of life in northern coastal communities while adding bold colours and warm textures. DL
Maison Melba, Frelighsburg, Québec
Atelier L’Abri, Montréal
One rarely sees a gambrel roof in contemporary architecture, with its kitsch association to quaint barns and Dutch colonial houses. Here, however, the gambrel roof is a feature, not a bug, to help a renovated 1970s auto-repair garage harmonize with neighbouring heritage buildings in a village on a small road in Québec’s Eastern Townships. The project comprises a residence, workshop and a space for culinary production and community meetings. In the centre of the rectangular floor plan, a perpendicular interstice slices through the building to create a transitional space between the living and creative areas. Skylit above, the space has local natural stone flooring that brings the landscape indoors. The building envelope had reached its end of its useful life; only the original wood frame was preserved. A new double-stud wall structure is filled with cellulose fiber, a natural insulation material made from recycled paper. The project was built to Passive House standards and will soon be LEED Platinum certified. DL
, Toronto , Toronto
A new flagship for the retailer in First Canadian Place, the 2,800-sq.ft. boutique’s pink textured lime plaster walls and the overall theme of circular forms were inspired by the colossal sculptures of curving steel segments by abstract sculptor Richard Serra (familiar to locals for his Tilted Spheres at Pearson’s Terminal One). Height changes and breaks in the wall offer views into the space, luring passersby. A central faux skylight illuminates the main floor from above through a back-lit fabric panel and is mirrored on the floor with a radius carpet of gradually lightening concentric rings. Aside from the wall segments near the entry framing a biophilic complementary colour pop of tall grasses, the interior is nearly monochromatic, offering a respite from the visual noise of the mall and helping to focus attention on the eyewear display. Adding visual interest through contrasting textures, the customer-care tables feature solid white oak details, panels wrapped in leather and fabric, and thin vertical strips of wood applied to the table bases and wainscot evoking rollup tam-
Telescope stands out in the architectural wall system space thanks to its soft-close and soft-open mechanism, offering a seamless operation. Designed for efficient space division with multiple sliding panels, each moving simultaneously and in a synchronized manner, this synchronization is achieved through a belt mechanism connected to each panel at the top. A pulley at each end of the glass panels ensures that they move in harmony with the belt. Additionally, a trolley system at the top allows the panels to glide smoothly along different rails and stack or telescope (hence the name) at the end. Available in two formats: Single Leaf stacks all panels on one side; while Double Leaf stacks panels on both corners. Single is available in 1+2, 1+3 and 1+4 format options and Double in 2+4, 2+6 and 2+8 format options (the first digit in each pair representing the number of fixed-glass panels and the second representing the number of sliding panels). DL
Telescope
Teknion, Toronto
Crux Collection
Afteroom for Division Twelve, Toronto
True to its Swedish roots, Stockholm-based design studio Afteroom brings a sense of Scandinavian austerity and functionality to the Crux Collection, manufactured by Division Twelve, Keilhauer’s bent-steel-furniture subsidiary. The collection, made from oak and tubular steel, comprises a chair, bar and counter stools and round and square café, bar and counter tables. Chairs and stools are available in armless and armed models; the seat is available in white oak and upholstered options. Crux tables have a distinctive four-legged base whose legs start as a centre column, then rise to separate from one another. In addition to being a third-party-certified, carbon-neutral product, Crux is constructed with FSC-certified wood and shipped from facilities that contribute zero waste to landfill and offset electricity use with renewable energy credits. Crux carries BIFMA LEVEL 3 and SCS Global Services certifications for indoor air quality at the Indoor Advantage Gold level. DL
Etched & Threaded Interface, Atlanta, U.S.A.
With a mandate to bring the warmth of luxury textiles into commercial spaces, the Etched & Threaded carpet tile collection features patterns inspired by nature while meeting the performance needs of the commercial market. The product is suitable for defining spaces, creating room borders, supporting wayfinding or filling a space completely for maximum impact. The seven styles include natural stone formations and polished pebbles, available in four neutral colorways and a 50 cm x 50 cm tile format; and five highly textured products offering cable knit, tweed and threaded patterns articulated in a hand-tufted way (evoking the nubby, tactile elegance of the classic Sixties knitted-wool Chanel suit), available in eight colourways and a 25 cm x 1 m plank format. The collection’s nature-inspired forms and materials bring a biophilic approach to the workplace, contributing to employee happiness and productivity. As for sustainability, Interface has achieved the lowest carbon footprint in the carpet-tile industry. DL
Percy Lounge Chair
Studio Marion, Winnipeg, for NaughtOne, North Yorkshire, United Kingdom
In designing this new lounge chair for British contract furniture supplier NaughtOne, Winnipeg-based furniture and product designer Nicole Marion paid homage to her memories of sitting in a doctor’s waiting room circa 1970s. Specifically, the thin metal tubing wrapping a continuous, curving path around the chair—and the striking simplicity of the composition. In Percy, two elements combine: the bold graphic outline of the powder-coated chubby tubular steel frame and the oversized puffy upholstery. Aesthetically, the chair walks the line between residential and commercial and combines residential comfort and robust contract performance, making it suitable for a wide variety of settings, from office to educational to hospitality. Easy and intuitive to dismantle at the end of the chair’s working life, each component is recyclable or reusable. Eight simple fixings separate the frame from the upholstered body; a single fabric sock wraps around the foam. DL
JUDGES’ PICK
Aarea
Pearson Lloyd for Teknion, Toronto
London-based Pearson Lloyd tell a compelling sustainability story about minimal components and materials with this new conference chair that comprises just five parts: a tubular steel frame; a flexible elastomeric mesh knit back; an upholstered seat cushion; recycled plastic arm pads and a recycled aluminum star base. The mesh back is produced with 3D printing, a technology that creates seamless, intricately patterned textiles without the need for cutting or sewing, thereby reducing waste by using only the exact amount of material required for the design. The ingredients for the textile include retrieved ocean plastic, minimizing the use of virgin materials. Inevitably, wear and tear occur at different rates to a chair’s components. To that end, Aarea knocks down to its constituent parts, allowing the chair to be serviced when needed rather than getting trashed, forestalling obsolescence and extending its lifespan. However, at the end of Aarea’s lifecycle, all components can be recycled, further enhancing the chair’s low carbon output. DL
“Aarea is the pinnacle of commercial-grade seating. This chair combines elegance and simplicity, designed with a vision for sustainability and longevity. In a world where most commercial furniture is destined for the landfill at the first sign of wear or during office relocations, Aarea shines as a beacon of innovation. It empowers users to effortlessly repair or recycle, setting a new standard for responsible design in commercial furniture. It doesn’t just meet expectations; it redefines them, proving that true elegance is found in both form and function.” — Cathy Knott, principal, Kasian Architecture and Interior Design
A whole new edge in building
The industry’s newest profiles and trims
Expect more. For the most complete line of high-quality, durable, color-complementary profiles and trims – with more than 4,500 pieces to match your creative design – visit www.mapei.ca
Witherspoon Student Union | Raleigh, NC
Custom Lineair Plank in Custom Woodgrain
Custom crafted with precision in a custom woodgrain color for the Witherspoon Student Union, our aluminum Lineair Plank beams redefine artfulness in metal ceiling design. Durable and stylish Lineair Planks seamlessly blend aesthetics with functionality, adding a touch of sophistication to any space.
