edp is proud to highlight these manufacturers established in Quebec.
edpinc.ca/eclairage
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A division of Royal Ceramic
8845 rue Pascal-Gagnon, Montreal (QC) H1P 1Z4
514 324-0002
maisoncr.ca
Kitchen and walk-in closets imported from Italy
ROOTED IDEAS AND RESOUNDING VOICES
In an ever-shifting global landscape—where artificial intelligence is rapidly evolving, stirring both excitement and debate about the future of creativity—design and architecture remain a constant. A language of resilience. A way of inhabiting the world with purpose and beauty.
We are proud to present this 196-page annual PEOPLE edition of INT.DESIGN magazine—a heartfelt tribute to the creators of today who are actively building the world of tomorrow.
At the heart of this issue: meet over 40 international jury members of the 18th edition of the GRANDS PRIX DU DESIGN, whose insight and vision continue to elevate the global standard of excellence. Through their diverse perspectives, a living map of trends, values, and ethics in design emerges.
We also sat down for a candid conversation with internationally renowned Ramon Estevez, who offers a deeply human approach to the creative process, and engaged in a vibrant Q&A with Patricia Urquiola, whose boundary-breaking imagination has long served as a beacon in the design world.
Our Business & Pleasure section explores the intersection of strategy and aesthetics, through the lens of two Montréal-based industry leaders: Francesco Lucia, second-generation head of Maison CR, and Pompeo Antonio Masecchia, founder of AD Waters—each setting the tone for elegance and innovation in their respective fields.
Finally, our Made in Québec special feature highlights sixteen homegrown companies, deeply rooted in the Belle Province, whose bold ideas and refined know-how resonate far beyond their local territories. In a world seeking new models, their local anchorage and forward-thinking spirit both inspire and captivate.
Extending our local road trip, the Design Tourism feature turns the spotlight on Québec as a destination in itself—a celebration of places where architecture, design, and hospitality converge to create memorable experiences.
To all the inspiring professionals who opened their world to us—thank you. Your stories enlighten us. Your convictions uplift us.
Enjoy the read—and long live well-considered beauty.
Brigitte & Ginette Gadoury Co-Presidents
ABOUT
Founded in 1996, INTÉRIEURS—now INT.DESIGN—remains a benchmark for design and architectural excellence in Québec and around the world. A trusted editorial beacon, the magazine offers a curated anthology of beauty through the ideas, gestures, and projects that shape our built environment.
Each year, two special editions are dedicated to the GRANDS PRIX DU DESIGN Awards, alongside a PEOPLE issue that spotlights individuals and professionals who are leaving their mark on the industry through vision and leadership.
The print edition of INT.DESIGN offers a bilingual reading experience— in both French and English—reflecting Montréal’s vibrant professional landscape. Online, readers can enjoy the magazine in three formats: bilingually, in French only, or in English only.
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Any reproduction of texts, illustrations and photos of the magazine is strictly forbidden. Even if all precautions have been taken to confirm the information contained in INT.DESIGN magazine, it is agreed that the magazine cannot be held responsible of errors or acts of negligence in the use of this information.
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Local expertise.
Design in Flow
At AD Waters, it’s not simply about providing faucets or shower bases — it’s about approaching the water space as a true design territory, where distributors, architects, designers, installers, and end users converge around a shared imperative: precision in execution and functional beauty.
Steering the Montréal-based company with vision and rigor for over three decades, Pompeo Antonio Masecchia—Tony, to everyone—has built a refined, fluid and unmistakably design-driven ecosystem, shaped by a craftsman’s instinct and a connoisseur’s eye.
Pompeo Antonio Masecchia
One Question, a Thousand Threads
A simple question kicked off our interview: “Tony, tell us a bit about your background.” What followed was a captivating tale of interconnectivity stretching from continent to continent, from raw materials to end users—a story shaped by design, distribution, craft, and instinct.
Speaking the Vision
Tony sure has a way with words—and with products too. “AD Waters, even the name, reflects both our tailor-made offering for the A&D community and our deep expertise in everything related to water spaces.” It’s all there: the audience, the specialty, the vision.
Design, Instinct, and Sketches
His eyes speak volumes, his French threaded with English expressions, Italian cities, and just the perfectly telling metaphors. He retraces his early retail days, the pivotal weekend that changed his trajectory, and the first sketches that launched a lifetime in design and distribution.
The
Young Antonio
Born in Italy, Tony moved to Montréal at the age of three, the youngest of five children. He studied interior design at Dawson College, photographed weddings as a teen, and has always had a deep love for well-made products.
Diving into the Deep End
He earned his diploma in 1983 and started out in sales. But it was almost by accident—helping a bathroom retailer friend for a weekend flash sale in 1987—that he stumbled into the world of water. And he dove in, completely. Something clicked. “It brought together everything I loved: design, drawing, and detail. I’ve never looked back.”
Expanding the Vision
In 1999, Tony took the reins of Aquabrass, shaping its growth through design sketches, patents, and a series of strategic pivots. In 2010, he launched Alt , a brand tailored to large-scale projects. Then, in 2017, he founded AD Waters, a premium distributor dedicated to serving design and architecture professionals.
A Constellation of Brands
Today, AD Waters operates out of Montreal and Toronto, distributing across Quebec, Canada, and the United States. Its in-house brands—conceived by Tony and his threeperson industrial design R&D team—include Aquabrass, Ca’Bano, Alt, Aquabrass Xpress, and StoneTouch, alongside a curated portfolio of European lines.
The portfolio includes Portugal’s Oli in-wall cisterns, Spain’s Fiora resin shower bases, Treemme’s Italian faucets, as well as Simas’ porcelain from Italy—distributed exclusively throughout North America.
“When you grow up in a place like Italy, where walls have stood for centuries, you learn early that to build is to think ahead. That sense of timeless beauty—that’s what I strive to express in everything we create.”
Fewer Steps, Greater Impact
With a sharpened pencil and a clear vision, Tony strives to make beautiful, high-quality, long-lasting products more accessible. By operating his own warehouse in Italy—bypassing middlemen—every step of the logistics chain remains fluid and uncompromised.
A Home in Italy Too
The facility, known as ABITA—a nod to “abitare” (to inhabit) and Aquabrass Italia—is located in Ponte San Marco, between Venice, home to the production of StoneTouch surfaces, and Brescia, a hub of Italian industry. Its strategic location allows for the centralization of European production and oversight of delivery down to the final mile.
It’s
a Matter of Details
For Tony, good design starts with uncompromising precision—every component must align to create a cohesive whole. “It’s like dressing for a black-tie event. You need the right shoes, the perfect cufflink—it’s those subtle, almost invisible details that bring everything together.”
Right Up to the Last Drop
This philosophy led to the creation of UMIX, a fully customizable entry-level faucet from Aquabrass Xpress—delivered in a sleek, collector-style kit. From matte black to brushed nickel or brushed gold, every finish is interchangeable, even post-purchase, right at the moment of installation. And, as Tony puts it, “its success has been crazy.”
Material You Can Feel
With StoneTouch, AD Waters takes its vision even further— bringing high-end solutions within reach while making them intuitive to use. From ready-to-tile shower bases and matte black vanity tops to moisture-resistant textured surfaces, every element is engineered to streamline installation without compromising on beauty. “We developed the first-ever solid-surface waterproof shower floor with an integrated tile flange—eliminating an entire trade from the installation process.”
Looking Ahead
Still driven by the pursuit of precision, Tony continues to refine, simplify, and elevate—never losing sight of that one essential ingredient: the invisible detail that transforms an object into an experience.
The journey continues. In 2026, AD Waters will unveil La Cucina, a new line of artisanal kitchen faucets—designed and made in Italy. Early sketches and renderings are already offering a tantalizing preview.
When Everything Flows
As a fully integrated destination for the modern bathroom, AD Waters moves with the precision and passion of its founder—backed by a close-knit team, a clear creative vision, and an unwavering commitment to thoughtful design. All delivered with the natural ease that defines a true art of living—a project considered down to the very last drop.
Francesco Lucia
A Sea of Ideas, A Port of Design
You don’t just step into Céramique Royal—or Maison CR, in its newly refined form—you enter like you would a well-appointed home: warm, inspiring, thoughtfully curated. But behind the clean lines of European tiles and the elegance of Italian kitchens lies a story of legacy, of high standards, and of a vision turned forward.
Today, Francesco Lucia, son of the founding father, is breathing new life into this heritage. We met him in the showroom, between samples of natural stone and a perfectly pulled macchiato, to talk about design and excellence.
Between Design and Dolce Vita
Francesco Lucia is a man of heart, family... and refinement. Over thirty years ago, while still studying architecture at CEGEP, he joined the business his father had built. An instinctive, almost obvious move—one that would shape the path of his life. Since then, he’s moved forward rooted in his family values—loyal, grounded, and community-driven.
A Family Affair
Today, the extended family fuels the business: his brother Chris, his daughter Amanda, nephews Jason and Justin, and even his brother-in-law. And when he heads home, it’s to the joy of reuniting with his beloved wife—whom Francesco fondly calls the best Italian cook in town… “even if,” he adds with a grin, “her roots are more matzo than marinara.”
The Call of the Mediterranean
Italy is his anchor. “From the marvels of Venice to the treasures of Sicily… the journey, the warmth of the people, and of course the food.” He loves the simplicity of well-made dishes, raw ingredients, authenticity—and naturally, a good wine.
Bianca Iapalucci, Ariana Crescenza, Francesco Lucia, and Amanda Lucia are part of Maison CR’s MULTIDISCIPLINARY TEAM—including designers and architects—who support both professional and residential clients.
CABINETS by PIANCA
Rooted in the East
It was in Saint-Léonard—where the raw energy of an industrial zone meets the warmth of a vibrant Italian community—that a family business was born in 1980, led by a passionate artisan. Beloved by insiders, its showroom and warehouse housed a curated collection of finishes, furnishings, and bath accessories.
From Tiles to Lifestyle
Rebranding as Maison CR, Céramique Royal donned a tailored jacket—a name fit for the high-end market. It’s no longer just about bathroom tiles. Maison CR now offers full design environments: custom kitchens, sleek vanities, walkins that would move Marie Kondo to tears, contemporary furniture, and of course, tiles from Sassuolo in Italy’s Modena region and Castellón in Spain’s Valencia province.
Euro-Elegance
Here, quality speaks with an accent—because when it comes to craftsmanship, “quality” rhymes with Italy and Spain. Simply put, Maison CR brings the dolce vita of European trends to a neighbourhood where Italian roots are more than a décor—they are its foundation.
The Heart of the Home, All’Italiana
While tiles built the reputation of Céramique Royal, custom Italian kitchens now embody the premium pivot of Maison CR. Francesco Lucia speaks of them with passionate conviction.
Their kitchen offerings include exclusive access to THE CUT—an Italian brand merging flawless craft and refined detail. Made in Italy, these kitchens combine noble materials, minimal design, and elegant functionality.
And far from being only for the elite, a fully customizable kitchen can be tailored to any budget—whether modest or luxurious—while still delivering true European quality. It’s a tangible way to bring Italian-style cuisine into Québec homes—without compromise.
A Customer-First Philosophy
And the service reflects this approach: from personalized design to turnkey installation, Maison CR ensures the entire experience flows as seamlessly as the marble countertop that anchors the room.
When asked to name three defining values, Francesco gives five: honesty, integrity, loyalty—and also, hard work and perseverance. That’s Francesco in five words.
Crafting Know-How
Behind every kitchen, bath, or living space lies craftsmanship cultivated for over four decades. Oversized tiles, quartz, porcelain, marble, granite—always serving both beauty and durability. Here, material is the starting point— and the signature of Maison CR.
01, 02 BATHROOM FURNITURE by IDEA GROUP 03 KITCHEN by THE CUT
Italian Design, Modular Edition
In its pursuit of refinement without rigidity, Maison CR expands its scope with two Italian lines that marry tech with style: Albed and Pianca.
From Albed: custom architectural partitions, sliding walls, and integrated systems—designed to enhance space without overwhelming it. Adaptive, fluid minimalism that stays true to the brand’s DNA.
Luxury on a Hanger
And for those dreaming of walk-ins that are as functional as they are photogenic, century-old Italian brand Pianca offers modular layouts Carrie Bradshaw would envy. Elegant and flexible, they adapt to every room, whim… and shoe collection.
Beauty in Transit
From interior architecture to elevated storage, Maison CR supports designers, architects, and clients in transforming each space into a subtle statement of refined design.
At the helm of this evolution, Francesco Lucia embraces both his roots and his influences: a devoted fan of Italian design and frequent visitor to Milan’s Salone del Mobile, he draws from its creative pulse a clear vision—of design that’s heartfelt, enduring, and alive.
A constant exchange between Europe and North America—with cargos of containers arriving weekly at the Port of Montreal, carrying design-forward products destined for the floors, walls, and kitchens of Maison CR. From large-format tiles to modular walk-ins and custom Italian kitchens, each shipment delivers a curated blend of form, function, and flair.
And to celebrate this ongoing dialogue between excellence, material, and hospitality and make its new showroom known and seen by many, Maison CR now welcomes professionals to exclusive dinner-talks hosted in its showroom kitchen. Because here, good taste is measured both in design… and on the plate.
Crossing Oceans, Raising Glasses
SUMA CO L O U R SERIES
A new collection for residential and construct ion projects by Silestone
Superior Performance
Our solutions for interior design cover from kitchen surfaces, to bathrooms and furniture, with up to 25-year guaranteed resistance and durability.
Endorsed by Cosentino
Our decades of pioneering leadership in the surface industry endorse us to provide high quality products.
Conscious Sustainability
Our low-crystalline silica surfaces are made with 100% renewable electrical energy and 99% recycled water.
Siberian
Persian White Motion Grey
Linen Cream Bronze Rivers
BRONZE RIVERS
Patricia Urquiola
From her formative years under the mentorship of Achille Castiglioni to her bold experiments in sustainable design, Spanish architect and designer Patricia Urquiola has always challenged norms while honouring heritage. At the helm of Studio Urquiola and as Art Director of Cassina since 2015, she continues to bridge memory and innovation, weaving emotion into every fold, seam and surface of her work.
Between Icons & Instincts
THE WAY THE STORY GOES
Born in Oviedo, Spain, and trained between Madrid and Milan, she is one of the most influential voices in contemporary design. A former protégé of Achille Castiglioni and Vico Magistretti, and then as design leader at Lissoni Associates until 2011, she blends rigorous thinking with a deep sensitivity to material and meaning.
FROM MILAN TO MOMA
Since then, she has created iconic pieces for some of the world’s most renowned design houses—Haworth, Cassina, B&B Italia, Moroso, Kartell, Glas Italia, Flos—crafting works that blend technology, craftsmanship, and poetic functionality.Her work has received numerous international accolades and is part of major public collections, including the Museum of Modern Art (MoMA) in New York—a testament to her lasting impact on the world of design.
THE LANGUAGE OF DESIGN
Through her Milan-based studio and her role as Art Director of Cassina, Patricia Urquiola continues to expand the definition of what it means to be a designer today—not merely a form-giver, but a cultural translator, an innovator, and a custodian of stories, materials, and meaning.
From circular materials to iconic reissues, from textile landscapes to emotionally charged installations, her practice forms a living dialogue between past and future—one that speaks softly, sensibly, and always with feeling.
01 HUSK CHAIR B&B ITALIA 2011 – A tribute to softness with generous capitonné cushions. Its hard shell is made of Hirek®, a recycled and recyclable polymer.
02 INSTALLATION “AMONG US” AT HEIMTEXTIL an interactive, textile led environment combining sustainable materials, lounge islands, hanging carpets, and sculptural seating from Kettal, Moroso, Kvadrat, cc tapis, Aquafil, Cimento®, and Parà Tempotest.
03 The iconic MANGAS OUTDOOR made with materials specially designed for outdoor use including rugs and covers made by hand with 100% recycled PET.
A CANDID CONVERSATION
Following her immersive Among-us installation at Heimtextil 2025—a 650 m² exploration of sustainable materials and hybrid forms where we met—Patricia Urquiola sat down with us to reflect on her creative journey, her mentors, and the evolving role of design in shaping human experience.
Thank you for giving us a glimpse into your universe. Let’s plunge right in. When and how did you discover your vocation as an architect and a designer? –At first, I wasn’t sure design was for me. I was studying architecture at the Polytechnic of Madrid and then Milan, and design seemed almost theatrical—closer to set design than to the rigor I was looking for. Then I met Achille Castiglioni. His classes were unexpected: he’d arrive with a suitcase full of ordinary objects—scissors, glasses—and open up entire worlds through them.
Your early path was shaped by mentors like Achille Castiglioni and Vico Magistretti. How did those formative relationships influence your creative philosophy? –They were both central figures. Castiglioni taught me to look at things without filters—to enjoy the act of observing. Vico Magistretti was an example of design intelligence, but also of personal elegance. He gave 100% of his attention to whoever he worked with. And he could explain a project with just words.
Your Milan studio is often described as a creative laboratory. What kind of energy defines the workflow on a typical day? –Movement. We work in an open space where conversations flow—at desks, over fabrics, in the kitchen. Ideas pass through many hands before settling. We don’t follow a rigid process, but we trust the rhythm that emerges from collaboration.
Since 2015, you've been the Art Director of Cassina. How do you approach reinterpreting design icons like Charlotte Perriand or Le Corbusier—honoring their legacy while keeping their relevance alive for today?
–Cassina is the company that re-edits the greats—Vico Magistretti, Gerrit Rietveld, Ico Parisi, Franco Albini, Le Corbusier, Charlotte Perriand. And it has always shown a strong commitment to promoting the cultural relevance of these figures through exhibitions and initiatives—like Charlotte Perriand: Inventing a New World, the first exhibition for which the Fondation Louis Vuitton dedicated its entire space to a designer.
We’ve always shared a vision with Cassina. Our daily work is to translate its legacy into today’s collections and into a complex, coherent image of the brand—one that evolves continuously with society. In this sense, art direction becomes a cultural continuum, an accumulation of experiences.
Your work increasingly incorporates recycled and low-impact materials. Has the urgency of the climate crisis transformed your way of designing?
–In the past, we looked at sustainability as one component of a project. Today, it’s the foundation of everything we lay our hands on.
MON NID BED CASSINA 2025 –The bed reimagined as a tactile refuge, featuring generous volumes and enveloping curves that evoke a cozy nest. With integrated storage beneath its slatted base, it combines sculptural form and everyday functionality at the heart of the contemporary home.
PERGOLA HAWORTH 2020 – A “room within a room” punctuates the floorplate and transforms open plans. Designed as a multifunctional space for contemporary offices, Pergola enables connection, collaboration, and focus.
OPENEST HAWORTH 2014 a lounge furniture collection and private workspaces designed to adapt to evolving professional environments. Openest creates a warm and inviting landscape that encourages interaction, reflection, focus, or relaxation, blending comfort and flexibility.
We think in terms of the full lifecycle—origins, processing, and what happens after use. We use circular materials like bio-based foams, recycled PET fibers, low-impact woods—and we’re exploring algae textiles, mycelium, and biodegradable composites. We’ve also started using digital tools more consciously—they help us reduce waste during prototyping, track material origin, and optimize how we use resources. But it’s not only about materials. It’s also about how we design: thinking modularly, designing for repair and disassembly, and building with durability in mind.
You presented the immersive installation Among-us at Heimtextil 2025 where we met—a project that explored the expressive and sustainable potential of textiles. What motivated you in doing this project, and how do you see the role of textiles evolving in contemporary design?
–Textiles are everywhere in my work. They’re the closest layer between people and space—soft, intimate, always in contact with the body. With Among-us, I wanted to reflect on how fabrics carry emotion, gesture, and history. We created an inviting environment—simple shapes, a sensitive language: folds, seams, structures you could walk through, lean into, read like a textile landscape.
WHERE EMOTION MEETS MATTER
From the dynamic pulse of her Milan studio to her curatorial vision at Cassina and unwavering commitment to sustainability, Patricia Urquiola invites us into a world where objects are anything but static—they speak, they respond, they carry memory and meaning. In her design language, even the most humble object becomes a threshold—between material and memory, tradition and transformation.
01 NUEZ LOUNGE BIO® ANDREU WORLD 2020. This high-backed lounge chair is crafted from a natural-origin thermopolymer and is 100% biodegradable, compostable, and recyclable. Its easily disassemblable design enables separation of the shell, foam, textile, and base (aluminum or FSC® ash). Inspired by the folding of a leaf, it offers a cocoon-like embrace—ideal for relaxation areas.
02 SHIMMER GLAS ITALIA 2015. A line of round tables characterized by its magical and ethereal appearance. Depending on the vantage point and the incidence angle of light, it displays an infinite variety of nuances, a result of its iridescent and multicoloured finish.
03 ON THE OCCASION OF SALONE DEL MOBILE 2025, "ALCHEMICA" an installation by Patricia Urquiola for Elle Decor Italia—explores the domestic home as a
metaphor for alchemy, guiding visitors through the stages from Nigredo to Rubedo.
Every Scale at
Ramón Esteve
From iconic residences to furniture collections for leading international brands, Spanish architect and designer Ramón Esteve approaches each project as part of a larger, unified vision. Anchored in Mediterranean light and form, his work blends material precision with emotional depth and contextual sensibility—whether he's designing a chair, a house, or transforming an industrial site into a cultural landmark.
We met Ramón Esteve at the Habitat Valencia fair, where our conversation revealed a deeply thoughtful creative mind—one who sees design not as a series of isolated gestures, but as a continuum where architecture, objects, and experience coalesce. The following interview offers a glimpse into this holistic approach.
YOUR BEGINNINGS
How and when did you discover your vocation for architecture and design? Was there a specific moment, person, or experience that sparked this passion or guided you toward this path?
As a child, I was captivated by how spaces could influence people’s emotions and behaviours. I’ve always been drawn to the profession, although I didn’t fully understand what it entailed at the time. There are no architects in my family, but my father worked in the construction industry. This gave me an early connection to that world, though I quickly realised that construction and architecture are two very different fields.
It wasn’t until my years of education that my true vocation began to take shape. I discovered architecture as a language—a way to connect people with their environment, blending functionality and beauty into something cohesive. That process also opened the door to architectural theory and history, which continue to be an endless source of inspiration.
I vividly remember receiving a book about houses when I was deciding what to study. In it, I came across Fallingwater by Frank Lloyd Wright. I immediately thought, “I want to create houses like that.” That moment was pivotal, shaping my vision and setting a clear direction for my path.
I began my career in my small hometown of Valencia, working on small interior design and architecture projects independently. I remained deeply connected to workshops and craftspeople, learning not only from my father’s insights but also through hands-on experience.
My first project came while I was still a student: designing exhibition stands for Kodak. The proposal included large stands—up to 500 square metres—which were published and received significant attention. It’s interesting to note that I started with interior design, and naturally, I also designed the furniture for those spaces.
From there, my projects grew in scale and complexity. For me, the most significant milestone was the Na Xemena project in Ibiza. It marked a turning point in my career, opening the door to the two fundamental pillars that define my work: design and architecture.
FOUNDING YOUR STUDIO
Your studio was founded in 1991, reflecting a strong ambition and clear vision from the start. What were the key steps or defining influences during this period that helped lay the groundwork for your entrepreneurial and creative journey?
In 1991, when I founded my studio, I had a clear purpose: to develop projects that transcended mere functionality to become sensory experiences. It was essential to surround myself with a multidisciplinary team and to embrace a philosophy of holistic design. The influences of vernacular architecture, contemporary art, and the great masters—combined with my focus on contextualisation—helped me establish a distinct identity. Specialisation and meticulous attention to detail enabled us to grow and take on increasingly complex and meaningful projects. Influential figures such as Louis Isadore Kahn, Le Corbusier, Mies van der Rohe, and Frank Lloyd Wright taught me the importance of purity in form, functionality, and the seamless integration of architecture with its surroundings.
HOLISTIC DESIGN APPROACH
Your holistic approach, where architecture and furniture engage in a dialogue to create cohesive and harmonious spaces, echoes that of Frank Lloyd Wright, who also designed furniture to enrich his architectural projects. How do you see the relationship between architecture and furniture in your work?
Holistic design is central to my practice. I see urban planning, architecture, and design as inseparable disciplines that must engage in dialogue to create environments—places with soul that connect with the user.
We often say that we design everything from a chair to an entire city.
The influence of Frank Lloyd Wright is undeniable; his ability to integrate furniture and architecture into a single cohesive narrative has inspired me to seek a similar harmony, where every element enhances the overall spatial experience.
Alongside him, I’ve also drawn inspiration from other great architects whose designs seamlessly complement the architectural discourse. This concept is also present in other disciplines, such as music. For example, Richard Wagner's idea of the Gesamtkunstwerk (total work of art) has been a profound source of inspiration for me.
INFLUENCES
You’ve previously mentioned the influence of architects like Le Corbusier, Frank Lloyd Wright, and Mies van der Rohe on your design philosophy. Could you share how their ideas have concretely shaped your work?
The principles of Le Corbusier, Frank Lloyd Wright and Mies van der Rohe have been guiding lights throughout my career. From Le Corbusier, I learned the importance of formal purity; Wright taught me how to integrate architecture with its surroundings; and from Mies, I value structural clarity and material honesty. For instance, in Casa Sardinera, the volumes emerge from the terrain as if they were a natural extension of the landscape—a tribute to Wright's teachings and his famous words: “No house should ever be on a hill or on anything. It should be of the hill. Belonging to it. Hill and house should live together, each the happier for the other.”
In general, great architects such as Louis Kahn, Jørn Utzon, Alvar Aalto, Sigurd Lewerentz, and particularly Nordic architects have profoundly influenced my approach.
Additionally, the philosophy of contemporary architects such as Herzog, Pierre de Meuron, and Zumthor has also left a lasting mark on my work.
SUSTAINABILITY
At the World Design Capital Valencia 2022, you stated that “sustainability should become the norm and be supported by proper regulation.” If you had the power to implement one specific regulation to promote more sustainable architecture and design, what would it be, and why do you think it would make a significant impact?
If I had the power to implement a regulation, I would focus on promoting energy efficiency and sustainability right from the earliest stages of design. This could include requiring the use of water recovery systems, sourcing local materials with low carbon footprints, or incorporating technologies that optimise resource use. These steps would not only reduce environmental impact but also create stronger connections between architecture, its natural surroundings, and cultural context.
That said, for these initiatives to truly make a difference, they need to become standard practice rather than isolated efforts. Sustainability and resource management should be embedded into societal norms and regulations, shaping the way we design and build on a broader scale.
We are still at the beginning of this journey. Raising awareness and building a shared understanding of sustainable principles is the first critical step. Only then can we fully implement effective, large-scale solutions. The kind of regulation I envision wouldn’t just address immediate environmental concerns—it would also help foster a cultural shift toward a more sustainable future.
LUNA COLLECTION FOR VONDOM
QUARRY HOUSE BY RAMÓN ESTEVE
COLLABORATIONS
Can you tell us more about your collaborations with brands such as Vondom, Vibia, and Porcelanosa? How have these partnerships influenced your creative process? Collaborations with brands such as Vondom, Vibia, and Porcelanosa stem from a shared commitment to innovation and quality. Each project presents an opportunity to explore new materials and forms. I recall, for instance, the development of the Luna collection for Vondom, where we worked tirelessly to create a piece that balanced functionality with emotion.
ACADEMIC INFLUENCE
As a professor at the Polytechnic University of Valencia, how have your exchanges with students and your academic role influenced your professional practice? Conversely, how do your experiences as an architect and designer enrich your teaching?
Teaching at the Polytechnic University of Valencia has given me the opportunity to reflect on my own practice and constantly reinvent myself. The students inspire me with their fresh ideas and thought-provoking questions.
In turn, I always aimed to convey to them the importance of approaching every project with rigour, creativity, and a clear sense of purpose.
SIGNATURE PROJECTS
You have designed iconic projects such as the "Sardinera House" and the "Cottage in the Vineyard." Can you share the unique challenges of these projects and how you overcame them?
Projects like Casa Sardinera and Cottage in the Vineyard have been both technical and creative challenges that have deeply influenced me. In both cases, the key was to balance integration with the landscape and functionality. In Casa Sardinera, the cantilevers and orientation optimise energy efficiency and maximise the views, while in Cottage in the Vineyard, the volumetry connects the building to its vineyard surroundings, reinterpreting the iconic shape of a house in a modern, extruded form.
01, 02, 03
CASA SARDINERA
A project where volumes integrate naturally with the landscape.
SIGNIFICANT AND FAVORITE PROJECTS
Looking back at your career, which projects have been the most significant for you, and why? Do you have any personal favorites, and what makes them stand out to you?
Each project holds a special meaning, making it hard to choose just one. Perhaps Na Xemena stands out as the first realisation of many ideas I already had about how to approach the profession. Projects like my own house or Cottage in the Vineyard are particularly meaningful because they represent innovative approaches and almost take on the character of a manifesto.
On the other hand, larger-scale projects outside the residential sphere, such as Bombas Gens in Valencia and the Rodes Industrial Park, have opened up a professional path focused on heritage rehabilitation. These projects require great sensitivity, blending creativity, sustainability, and social commitment.
TECHNOLOGY AND CRAFTSMANSHIP
Technology has transformed the field of architecture and design. How do you integrate digital tools into your creative process, and how do you balance them with traditional methods like hand sketches?
Digital tools are essential for exploring forms and resolving complex details, which is why we implemented BIM years ago. However, I always start with hand sketches. This balance between technology and craftsmanship is crucial for maintaining authenticity and a human touch in every project.
ARTIFICIAL INTELLIGENCE AND THE FUTURE
Artificial intelligence is playing an increasingly prominent role in architecture and design, transforming tools and creative processes. How do you envision its integration into your practice, and what do you see as the challenges and opportunities it represents for the future of the discipline?
Artificial intelligence is poised to become a powerful tool for optimising processes and exploring new formal possibilities in architecture and design. It offers an extraordinary ease in generating multiple options and scenarios, expanding the creative horizon. However, the greatest challenge lies in preserving the emotional essence and sensitivity inherent in design.
While AI can assist in refining and expanding ideas, the initial problem-solving and conceptual approach must remain in our hands. It is up to us to define the direction and framework before leveraging AI to explore alternatives. Ultimately, the true value of AI lies in our ability to interpret its outputs and make thoughtful, intentional decisions about the path we wish to take. Technology must serve as a means to an end, enhancing our creativity without overshadowing the human touch that defines the discipline.
01, 02, 03 COTTAGE IN THE VINEYARD Balances volumetry with its vineyard surroundings.
Lately, I’ve been inspired by two ideas or aspirations. On one hand, the challenge of tackling an urban planning project and designing a city layout informed by real-world experience. On the other, I’m intrigued by projects I’ve had less opportunity to explore, such as urban planning and high-rise construction.
ADVICE TO THE NEXT GENERATION
What advice would you give to young architects and designers who aspire to leave a significant mark in the field of contemporary design?
My advice to young architects and designers would be: never lose sight of the purpose behind every creation. Every design should have soul, identity, and the ability to connect emotionally with the people who inhabit or use it. Designing is not just about solving technical problems, but about doing so with meaning, respecting the context, and always striving for technical and aesthetic excellence.
Passion for your work and a willingness to put in the effort are essential to leaving a mark on contemporary design. We live in an ideal time to pursue this profession, where society increasingly values creativity and innovation, both in the built environment and in the products we use.
Moreover, don’t wait for opportunities to come to you. Be proactive: seek experiences, collaborations, and learning opportunities that help you grow professionally. Learn to solve problems with technical skill, but also think beyond, challenging your own creative limits. Never stop evolving, exploring new perspectives, and giving each project a unique sense of meaning that reflects your identity and adds emotional value.
With passion, rigour, and a forward-looking vision, the 18th edition of the GRANDS PRIX DU DESIGN continues to shine on the international stage and strengthens the dialogue between the disciplines of design, architecture, landscape, the built environment, and art.
The GRANDS PRIX DU DESIGN Awards stands out for its international jury composed of 108 members—architects, designers, urban planners, experts, researchers, and journalists—from all corners of the globe. This elite panel enriches the competition with rigorous, inquisitive, and fair multidisciplinary expertise.
The jury gives candidates the invaluable opportunity to have their projects and products assessed by influential figures from both Québec and the international stage. Using a sophisticated digital scoring system, each entry is evaluated by jurors selected for their domain expertise, ensuring accurate and specialized judgments.
They're back!
Some jurors return year after year—sometimes serving for a 2nd, 3rd, or even 5th time—reflecting their dedication to the the competition. Discover their profiles in past issues (#81, 85, 88, 91) available on int.design.
Christine ABBATE CEO Novità Communications New York, NY, United States
Patrick ABBATTISTA Founder & CEO DesignWanted Milan, Italy
Sarmad AL-MASHTA Transport Architecture Principal HDR Vancouver, BC, Canada
Christian BÉLANGER Designer BÉLANGERMARTIN Montréal, QC, Canada
Benoit CHAPELLIER Marketing Director Montoni Laval, QC, Canada
Onie CHU
Executive Director The Association of Accredited Advertising Agencies of Hong Kong（香港廣告商會） Hong Kong, China
Imen BEN YOUSSEF ZORGATI Director and Associate Professor, School of Design, Faculty of Environmental Design Université de Montréal Montréal, QC, Canada
Nadja BORRAS MARKOVIC Design Director Gensler Mexico, Mexico
Cheryl BROADHEAD Principal BYU Design Vancouver, BC, Canada
Dean Emeritus and Professor University of Tennessee Knoxville, TN, United States
Mark SCHOLLEN Landscape Architect & Principal Schollen & Company Inc. Richmond Hill, ON, Canada
Stanley SUN Partner Mason Studio Toronto, ON, Canada
Christiane TAWIL Editor-in-Chief côté déco Beyrouth, Lebanon
Alina VALCARCE
Founder & Director Valcarce Architects Dubaï, United Arab Emirates
Ingalill WAHLROOS-RITTER
Professor East Los Angeles College President ACLA Architecture for Communities Los Angeles Los Angeles, CA, United States
Milagros ZINGONI PHIELIPP Director & Associate Professor School of Interior Architecture / University of Tennessee Knoxville, TN, United States
Discover in the following pages the new jurors joining the international jury this year. These fresh voices enrich the dialogue and broaden our view of creative excellence. ➤
Aidin ARDJOMANDI
Director Designooor Magazine
Lecturer
Pars University of Art and Architecture
Tehran, Iran
THE PERSPECTIVE PRINCIPLE
Based in Tehran, Iran, Aidin Ardjomandi is a multidisciplinary designer, lecturer, and design critic specializing in product, lighting, and sustainable design. He teaches at Pars University and manages Designooor Magazine. With jury roles in 50+ global awards, including the A’ Design and LIT Awards, his insight into aesthetics, functionality, and innovation makes him a key voice in the international design community.
WHAT DID THE CHILD VERSION OF YOURSELF WANT TO BE WHEN YOU GREW UP?
–I was a curious dreamer, always sketching imaginary worlds and reinventing everyday objects. I didn’t want to be something—I wanted to understand everything. There was no single “aha” moment, just a deep fascination with how design shapes the world around us.
WHAT WAS YOUR FIRST JOB IN THE FIELD? GIVE US A PLACE, A MOMENT, AND A STATE OF MIND!
–My first job was as an editorial cartoonist—exciting, but intimidating. One of my most meaningful pieces was a memorial for the victims of the Charlie Hebdo shooting. I quickly realized I was more drawn to layered critique than provocation. That experience led me to design, teaching, and research, where storytelling and visual analysis remain central to my work.
WHAT’S THE BEST CAREER ADVICE YOU’VE EVER RECEIVED?
–Someone once told me, “Design isn’t about answers—it’s about asking the right questions.” That idea shaped my path as a researcher, critic, and educator. It taught me that the most meaningful work begins with curiosity and deep inquiry.
WHAT ACHIEVEMENT ARE YOU MOST PROUD OF?
–Seeing my students thrive. Sharing knowledge is just the beginning— what matters most is igniting a way of thinking that lasts well beyond the classroom. Their growth, their impact—that’s my greatest reward.
WHAT SONG LIFTS YOUR SPIRITS, RAIN OR SHINE?
–“Father and Son” by Cat Stevens. It’s a timeless conversation between generations—a reminder to trust the process, embrace change, and let each person find their own path. Every time I hear it, it feels like an old friend offering quiet wisdom.
“Design isn’t about trends or objects—it’s about perspective. The best designs challenge, inspire, and endure.”
Alykhan VELJI
Creative Director Alykhan Velji Designs Calgary, Alberta, Canada alyveljidesigns.com
SEEKING TIMELESS BEAUTY
Alykhan Velji, Creative Director of Alykhan Velji Designs, has built a dynamic lifestyle brand with over 17 years in the industry. Known for mixing styles, patterns, and textures, he creates timeless, personal spaces. His work spans residential and commercial projects and has been featured in top publications like AD and House & Home. A fixture in Canadian design, Aly has led acclaimed collaborations—most recently launching Modern Heritage with SILVA, a collection celebrating craftsmanship and tradition.
TELL US ABOUT THE BOY YOU WERE.
–I used to be a very creative child and had a true fascination with fashion design. I had several notebooks filled with drawings of models wearing all types of looks—with crazy hats, shoes, and bags.
WHAT COLOR ATTRACTS YOU THE MOST, AND WHY?
–I love green. In our studio, we consider it a neutral tone because it pairs well with everything. I use it in various shades throughout the home—it’s warm, inviting, and comforting, yet can still feel unexpected.
WHO OR WHAT FIRST INSPIRED YOU TO PURSUE YOUR FIELD?
–Growing up, I admired Martha Stewart—she was a lifestyle icon, mastering everything from home décor and design to landscaping, entertaining, and food. Her ability to blend beauty and expertise fascinated me, sparking my love for antiques and stylish living.
WHAT WAS YOUR FIRST JOB IN YOUR FIELD? DESCRIBE THE TIME, PLACE, AND MINDSET.
–After graduating from Bow Valley College in 2004, I began my career at Buhran Gallery, an antique furniture shop in Calgary specializing in pieces from India and China, along with stunning Afghan rugs. This experience was pivotal—it taught me craftsmanship, joinery, and the timeless beauty of antiques.
“Istill embrace the art of mixing old and new to create curated, character-rich spaces.”
Andy DOWDING
Head of Urban Design & Masterplanning
Lambert Smith Hampton
London, United Kingdom
lsh.co.uk
DRAWING CITIES, SHAPING PLACES
Andy Dowding is the Head of Urban Design + Masterplanning at Lambert Smith Hampton, the no.1 commercial and residential consultants in the UK. He has over 20 years’ experience leading or contributing to significant regeneration projects, planning applications, and development appraisals at a range of scales and complexities including King’s Cross Central, London 2012 Olympic Transformation, Hereford Old Market, Cambridge Innovation Campus, and Graven Hill.
WHAT DID THE CHILD VERSION OF YOURSELF WANT TO BE WHEN YOU GREW UP?
–I’ve always loved drawing, so the creative industries attracted me from a young age. Influenced by my wider family who worked in the automotive sector, I was initially focused on a career in vehicle design, but my studies at art college and university steered me towards the built environment—where I became fascinated with the morphology of place and how design can be used to make positive change.
WHAT PROJECT LAUNCHED YOUR CAREER?
–At the very beginning of my career, I worked as part of the design team shaping Argent’s regeneration of King’s Cross Central in London where I contributed to the Outline Planning Application. Over 20 years later, the project is now close to completion and stands as an exemplary precedent for urban regeneration.
WHAT’S THE BEST CAREER ADVICE YOU’VE EVER RECEIVED?
“I ’ve always seen yellow as a bright, positive force - bringing modernity, energy, order, and structure to space.”
–The power of three. It has shaped how I structure ideas, lead meetings, present ideas and order design solutions.
WHICH LIVING HEROES, MENTORS, OR TALENTS DO YOU MOST ADMIRE AND WISH YOU COULD SPEND TIME WITH?
–I admire creative people who think outside the box, challenge conventions, forge new disciplines, and show resilience and courage. I enjoy a range of interests and as such my heroes extend from multiple disciplines. They include the architect Richard Rogers, artists Ben Nicholson, and Alfred Wallis; musicians Bruce Springsteen and Bob Dylan; motorsport legends Juan Manuel Fangio, Sir Stirling Moss, Ayrton Senna, and Curt Goransson; and visionary engineers like Isambard Kingdom Brunel and Adrian Newey.
Anita SIRCAR
Architecture Department Head Michael Baker International Alexandria, Virginia, United States mbakerintl.com
FROM AIRPORTS TO ECO-VILLAGES
Based in Alexandria, Virginia, Anita Sircar leads the Architecture Department at Michael Baker International’s Mid-Atlantic office. With 30 years of experience, she oversees high-impact, large-scale projects across sectors. Known for her strategic leadership, innovation in sustainable design, and talent development, she plays a key role in business growth while championing excellence across the industry.
WHO WAS THE FIRST PERSON—OR WHAT WAS THE MOMENT—THAT SET YOU ON YOUR CAREER PATH, AND HOW DID IT UNFOLD?
–The journey to becoming an architect often begins with a single, defining moment or person. For me, it was the visionary work of Le Corbusier. A visit to Villa Savoye as a student revealed the power of architecture to be both functional and poetic. His philosophy still guides my approach to creating sustainable, meaningful spaces today.
WHAT WAS YOUR FIRST JOB IN THE FIELD? GIVE US A PLACE, A MOMENT, AND A STATE OF MIND!
–My first job was with a prestigious architecture firm in India—a thrilling opportunity right out of school. I was tasked with designing technical buildings and control towers for three international airports. It was daunting, intense, and exhilarating all at once—a true trial by fire that fueled my passion for complex, large-scale projects.
IN YOUR VIEW, WHAT ARE THE ESSENTIAL QUALITIES OF EXCEPTIONAL DESIGN?
–Innovation, functionality, aesthetic appeal, sustainability, and an emotional connection—these are the foundations of truly exceptional design.
WHAT’S ONE THING YOU’D LIKE TO SEE CHANGE IN YOUR FIELD?
–I’d like to see a greater emphasis on affordable and inclusive housing. While we’ve made strides in sustainability and innovation, the need for accessible, high-quality housing remains one of the most pressing issues in architecture today.
A DREAM STILL TO BE REALIZED? TELL US WITHOUT HOLDING BACK!
–I dream of designing and building a self-sustaining eco-village—a living model of sustainability that blends innovative architecture, environmental stewardship, and community-centered design.
“Iwas once told to always design with empathy and purpose—and to never forget the realities of the client’s business and budgets. It’s guided me ever since.”
WRITTEN IN STONE
Anna BOSCÀ
Director of the Cultural & Healthcare Architecture Dept. Ramón Esteve Estudio Valencia, Spain ramonesteve.com
“Architecture is a dialogue between the past, the present, and the future. Our responsibility is not only to create, but to listen—to spaces, to history, and to the needs of those who inhabit them.”
Anna Boscà is the Director of the Cultural & Healthcare Architecture Department at Ramón Esteve Estudio, a leading design firm based in Valencia, Spain. Since 2011, she has led a diverse portfolio of projects—from cultural spaces to hospitals and educational institutions. Drawing on her deep expertise in complex architectural programs, she approaches each project with a thoughtful, human-centered vision, designing spaces that inspire, heal, and foster connection.
WHAT DID YOUR CHILDHOOD SELF DREAM OF BECOMING?
–As a child, I wanted to be a writer—something completely unrelated to architecture. I was always lost in books, imagining stories as if they were a second life. In a way, I suppose architecture shares that same impulse to imagine different lives, crafting spaces that shape experiences.
WHAT SET YOU ON THE PATH TO YOUR FIELD?
–I can’t point to a single person or defining event that led me to architecture. It was more of a gradual pull—small moments and places that left an impression. I remember visiting historic buildings and feeling drawn to the way spaces tell stories without words. Over time, that fascination turned into a desire to create those kinds of spaces myself.
WHAT MOTIVATES YOU MOST ABOUT THE WORLD OF DESIGN AND ARCHITECTURE?
–What drives me is the opportunity to create spaces that serve a real purpose beyond aesthetics. I’m especially drawn to projects with a collective function—hospitals, museums, schools—places where architecture shapes experiences on a broader scale.
WHAT DO YOU APPRECIATE MOST ABOUT WHERE YOU LIVE AND WORK?
–I live in Valencia, a city I truly consider one of the best places to live. Its scale, seaside location, and walkable layout make moving through it feel natural and fluid. Valencia has deeply shaped how I see architecture—not just as a discipline, but as a way of creating environments that feel intuitive, human-centered, and in harmony with the lives they support.
Architect
BORN FOR BEAUTY Ban KUBBA
Associate Vice President
National Market Sector Leader Transportation Buildings
ÆCOM
Toronto, Ontario, Canada aecom.com
Passionate architect Ban Kubba bridges art, infrastructure architecture, and innovation engineering. With 30+ years of experience and a national reputation in transportation architecture, she leads a major sector at ÆCOM Canada. As a leader, she champions a culture of design excellence, consistently delivering work that exceeds expectations and leaves a lasting impact.
AS A CHILD, WHAT DID YOU IMAGINE YOU’D GROW UP TO BE?
–They say happiness is achieving a childhood dream. Since I was 10, I knew I wanted to be an architect. I’d sneak onto the construction site next door just to explore the materials, addicted to the scent of raw steel and wood. I was captivated by the raw materials, the way the structure came together. That hands-on experience ignited a deep desire: I wanted to build.
WHAT WAS YOUR FIRST JOB IN THE FIELD? GIVE US A PLACE, A MOMENT, AND A STATE OF MIND!
–In 1993, fresh out of Baghdad University, I planned to rest—finally. Two days later, I got a call from a top firm known for cutting-edge digital design. I declined at first, wanting a break. That lasted half a day. My first project? A palace for Saddam Hussein, shaped like an octopus. I designed the shoe storage room for its mosque! It felt absurd—but I learned a lot there: power, compromise, and how architecture meets reality.
HOW HAS YOUR STYLE EVOLVED OVER TIME?
–I’ve moved a lot—in life and in work. Every project, whether I loved or hated it, taught me something. Style isn’t born—it’s built. No architect starts with a fully formed style. Like Gehry or Wright, we all evolve through experience. Success, failure, and repetition shape the architect we become.
TELL US ABOUT YOUR PROUDEST ACHIEVEMENT.
–While I’ve led major projects across Canada, the ones dearest to me are the residential units I designed in Baghdad, Vancouver, and Toronto. These reflect my own style and my own vision. On a personal and deeper level, I’m most proud of my three children. I raised them through war and hardship—and today, I watch them lead change.
“A rchitecture is in my blood— almost like a disease. I was born for this line of work, destined to make the world more beautiful.”
A trained technician and later a graduate in architecture, Benoit Gérard has carved his path with passion. In 2003, he co-founded BlazysGérard in the heart of Montréal to bring a strong vision to interior design: building with meaning, asserting identity, and creating lasting impact. Each project celebrates permanence, consistency, and a sense of place.
“Gray is that space between shadow and light—rich with nuance and sensuality. From the lightest to the darkest tones, it always stirs a simple emotion.”
AS A CHILD, WHAT DID YOU WANT TO BE WHEN YOU GREW UP? –Happy, free… and in the world of architecture!
WHO OR WHAT SET YOU ON THE PATH TO ARCHITECTURE AND DESIGN, AND HOW DID THE STORY UNFOLD?
–My father led me to it. A painter, he designed and built a sculptural house with his own hands in 1976—the home I grew up in. That’s where my love for design and architecture was born.
WHAT WAS YOUR FIRST JOB IN THE FIELD? GIVE US A PLACE, A MOMENT, AND A STATE OF MIND.
–It was in 2000, at Dupuis Letourneux in Montréal. There, I learned how to create and shape spaces from my mentor Benoit Dupuis, and gained a methodical sense of discipline thanks to Jean-Pierre Letourneux, whose logic and legendary calm left a deep impression.
WHERE DO YOU LIVE AND/OR WORK, AND WHAT DO YOU ENJOY ABOUT IT?
–I split my time between Montréal and Saint-Gabriel-de-Brandon—a perfect balance between city and countryside. In Montréal, I always return to Marché Maisonneuve and its public square, a vibrant place I love. Favorite restaurant? I flock to Leméac for Negronis, basil escargots, flank steak, and French toast.
IF YOU WERE TO HOST A CREATIVE BRAINSTORMING SESSION WITH THREE PEOPLE, LIVING OR DECEASED, WHO WOULD THEY BE? WHAT WOULD THE TOPIC BE?
–Frank Lloyd Wright, Yves Saint Laurent, and Lenny Kravitz. The conversation would revolve around their approach to pure creativity and emotional expression across architecture, fashion, and music.
Bill BOUCHEY
Design Director
GENSLER
Los Angeles, California, United States gensler.com
MAKING SPACE MATTER
WHAT DID THE CHILD VERSION OF YOURSELF WANT TO BE WHEN YOU GREW UP?
–I used to build things and imagine structures and roads. It felt immersive, and I would lose track of time for hours. The bright green felt of my childhood’s billiard table became a fertile “plane” for my imagination.
WHAT SET YOU ON THE PATH TO YOUR CAREER? AND WHAT WAS YOUR FIRST JOB IN THE FIELD?
–While studying Fine Art and Design, architect Mary Gale saw potential in my spatial studies, suggesting they could be “inhabitable.” That insight opened the door to interior design and architecture. In 1983, I was hired as junior interior designer by The Walker Group. Their immersive, emotion-led approach left a lasting impression and shaped my early vision of design.
A visionary leader in human-centric design, Bill Bouchey’s work spans industries from tech to life sciences. With 30+ years of award-winning experience, he specializes in commercial interiors—from lifestyle and legal to creative media and branded environments. Published in The New York Times, Interior Design, Contract, Metropolis, and FRAME, Bill is a recipient of The Lifetime of HIPness award from Interior Design Magazine.
“B e infectious. Be the creator your training and experience demand —and do it boldly, in unison with others, with purpose and passion.”
WHAT MOTIVATES AND ENCHANTS YOU MOST ABOUT THE WORLD OF DESIGN AND ARCHITECTURE?
–A blank piece of earth, or an empty interior space, is always compelling to me—a container seeking form and meaning. I see it as an opportunity to shape sculpture through culture, community, and connection, always with the goal of enhancing human interaction through human-centric design.
IS THERE A DREAM PROJECT YOU STILL HOPE TO REALIZE? AND IS THERE A SPACE OR OBJECT YOU ALWAYS FEEL THE URGE TO REDESIGN?
–A dream of mine is to transform an urban strip mall into a magnet destination—to redefine the association with what’s often labeled 'garbage architecture.' I also find myself wanting to redesign the paperweight, imagining one that engages with hard copy in a more interactive way than simply sitting on it.
GENSLER LOS ANGELES STUDIO
Bruno ORO
Professor Iowa State University Ames, Iowa, United States iastate.edu
FROM SEEDS TO SUCCESS
WHAT DID THE CHILD VERSION OF YOU WANT TO BE WHEN THEY GREW UP?
–I was always curious about how things worked—taking toys apart, rewiring circuits, and experimenting just to see what would happen. It wasn’t about results, but the joy of discovery. That hands-on curiosity still drives how I solve problems today.
WHO OR WHAT INSPIRED YOU TO PURSUE YOUR FIELD?
–It all began at 12, playing online games with dial-up internet. To lead a team, I had to build a website—without any formal training whatsoever. I reverse-engineered sites until I created one for my team. That led to my first real gig designing a business website for my father’s friend. By 16, I was financially independent, designing brands and sites. My first official job was at Dambros Architecture in Brazil, where I learned that great design isn’t just creative—it’s also structured, patient, and consistent. That balance still guides my work today.
WHAT ACCOMPLISHMENT ARE YOU MOST PROUD OF?
–I don’t measure success by a single project, but by the seeds I’ve planted—nurturing ideas that grow into something bigger over time. What I’m most proud of is mentoring the next generation of designers.
WHERE DO YOU SEE THE FUTURE OF YOUR PROFESSION?
–While there’s talk of AI replacing jobs, I see it reshaping design—not replacing designers. It will help streamline tasks so we can focus on what matters most: creative problem-solving, empathy, and critical thinking. The future of design lies in collaborating with technology, not competing against it.
Meet Bruno Oro, a creative force in industrial design with over 20 years of experience shaping everything from electronics to toys. He has collaborated with global brands like Electrolux, consistently pushing design forward with creativity, curiosity, and heart. As a professor at Iowa State University, he also shares his passion worldwide as a mentor, juror, and board member in the design community.
“I n design—and in life—progress often begins by embracing failure as a vital part of the process.”
Christian DUNBAR
Designer, Sculptor, Founder Christian Dunbar Design Brooklyn, New York, United States christiandunbar.com
AT THE INTERSECTION OF ART AND FUNCTION
New York–based furniture designer and sculptor Christian Dunbar is renowned for fusing organic materials with industrial elements. Crafted in his Red Hook, Brooklyn studio, his handmade bespoke pieces blend hardwood, stone, leather, and metal into minimalist yet luxurious forms. A graduate of NYSID and SCAD, Dunbar has been featured in Vogue, Elle Decor, and design fairs around the world.
WHO FIRST SET YOU ON THE PATH TO YOUR PROFESSION?
–When I was younger, I dated a girl who was the visual director for Donna Karan Japan. Helping her with projects sparked my interest in design and led me to enroll at the New York School of Interior Design. A decade later, I pursued an MFA in Furniture Design.
WHAT WAS YOUR VERY FIRST JOB IN THE FIELD?
–The first piece I ever sold was a coffee table made from an old wooden ceiling joist I spotted on my way home—tossed out during a New York City apartment renovation.
WHAT DO YOU DO TO GET YOURSELF OUT OF A CREATIVE RUT?
–Traveling with my wife always reignites my creativity. As two design nerds, we soak in the visual beauty of our surroundings. My favorite vacation spot is a toss-up between Greece and Thailand.
WHERE DO YOU LIVE AND/OR WORK, AND WHAT DO YOU APPRECIATE ABOUT IT?
–We live in Manhattan, and I work out of my woodshop in Red Hook, a small waterfront neighborhood in Brooklyn. It’s full of artists and artisans, with a magical atmosphere. Crowds gather for the sunsets, and our shop has a direct view of the Statue of Liberty—it’s surreal and inspiring.
WHAT ARE THE ESSENTIAL QUALITIES OF EXCEPTIONAL DESIGN?
–I believe the best design lives where art and function intersect. I’m drawn to counterintuitive materiality and the visually unexpected found in high design.
“I would love to see the practice of planned obsolescence come to an end. The ultimate cost we all pay for producing 'throwaway' furniture is staggering. We have to do better.”
Cynthia DAMAR-SCHNOBB
Founder/CEO
Artellix Toronto, Ontario, Canada artellix.ca
DESIGNING FOR BELONGING
A seasoned expert with a 25-year track record, Cynthia Damar-Schnobb is an award-winning experiential design consultant and strategist. As founder of Toronto-based Artellix, she specializes in wayfinding, place branding, and donor recognition. A Carleton grad and Women Business Enterprise (WBE)-certified leader, she co-chairs Sheridan’s Experiential Design Program Advisory Committee and has held key roles with the Society for Experiential Graphic Design and the Association of Chartered Industrial Designers of Ontario (ACIDO).
AS A CHILD, WHAT DID YOU WANT TO BE WHEN YOU GREW UP?
–I always wanted to be a designer, though I never knew exactly what kind. My path zig-zagged—from studying Industrial Design, to falling in love with graphic and information design in UI/UX, to eventually working in Experiential Graphic Design. Today, I find deep satisfaction collaborating across architecture, interiors, and landscape. I’m fascinated by how built environments merge graphic, information, and industrial design with psychology—how we connect emotionally to space and interpret our experiences.
WHO FIRST SET YOU ON THE PATH TO YOUR PROFESSION?
–Watching my dad build a manufacturing business from the ground up was formative. I was fascinated by how he tackled challenges, explored creative solutions, and made strategic decisions. That early exposure certainly sparked a curiosity that still fuels my work today.
WHAT PROJECT LAUNCHED YOUR CAREER?
–Sidra Medicine in Qatar was certainly one of the more memorable ones. As one of my first major international projects, it brought together teams from around the world to tackle everything from visitor flow to architecturally integrated design. Its completion remains a powerful example of collective coordination—and a project I’m proud to have contributed to.
WHAT ACHIEVEMENT ARE YOU MOST PROUD OF?
–Founding Artellix. Taking the leap after the pandemic and growing the studio from its inception into a small but mighty team—with a diverse portfolio in just two years—has been the most rewarding journey of my career. It speaks to the talent, dedication, and impact we’re creating together.
“I n built environments, elevating user experience depends on creating a genuine emotional connection between humans and the spaces they inhabit—fostering comfort, belonging, and interaction that resonates beyond aesthetics or utility.”
Daniele AGOSTINELLI
CEO
Agostinelli Architetti - Green Interior Design Milan, Italy
agostinelliarchitetti.com
MILANO INSIDE OUT
“T here’s no greater pride than stepping into a finished space, breathing in the scent of something I designed and built with dedication.”
WHAT DID THE CHILD VERSION OF YOURSELF WANT TO BE WHEN YOU GREW UP?
–I decided to become an architect at age five while standing beside my father on a construction site. It felt like watching a conductor lead an orchestra. Back home, I’d draw on the back of his plans, already dreaming of building a world of my own.
WHAT WAS YOUR FIRST JOB IN THE FIELD? GIVE US A PLACE, A MOMENT, AND A STATE OF MIND.
–The first job I landed was at a small architectural firm in Milan that did a bit of everything—residential projects, offices, renovations, interior design, and more. It was led by two seasoned architects who taught me a great deal. On my very first day, one of them said, “Design in the most spontaneous, crazy, and free way possible.” It’s a mindset I’ve carried with me ever since.
WHAT MOTIVATES YOU, AND WHAT ENCHANTS YOU MOST ABOUT THE WORLD OF DESIGN AND ARCHITECTURE?
–It’s a challenging path, but when—after months of work and countless obstacles—you finally complete a construction site, something inside you lights up. It’s like an afterburner that propels you toward the next project.
IF YOU WERE TO HOST A CREATIVE BRAINSTORMING SESSION AND COULD INVITE ANY THREE PEOPLE, LIVING OR DECEASED, WHO WOULD THEY BE? WHAT WOULD YOU DISCUSS?
–In my wildest dreams, I’d invite Pier Luigi Nervi—the ideal architect who embodied elegance, experience, and inimitable artistry—along with Renzo Piano, whom I deeply admire, and the brilliant Gio Ponti, to reimagine the role of the architect and project it into the future.
Born, raised and based in Milan, architect and designer Daniele Agostinelli founded his own studio in 2007, specializing in interior architecture and sustainable building redevelopment. A graduate of the Milan Polytechnic, he has worked across sectors from schools to hotels. A LEED® Green Associate and Royal Institute of British Architects (RIBA) Chartered Member, he blends Italian design sensibility with a strong focus on environmental innovation.
Debbie LAPORTE
Founding Director Orterra
Brisbane, Australia orterra.com.au
“D esign is about creating tomorrow’s spaces with nature today—by working with her, not against her.”
WITH LAND IN MIND
With over 20 years of experience across Australia and Europe, Debbie Laporte is the founding director of Orterra, a Brisbane-based landscape architecture firm. A registered landscape architect with the Australian Institute of Landscape Architects (AILA), she brings deep expertise to every project and is a passionate advocate for nature, community, and the power of place-based design.
WHO OR WHAT FIRST SET YOU ON THE PATH TO YOUR FIELD, AND HOW DID IT UNFOLD?
–I’d always had my mind set on being a vet one day—until a university anatomy class made me rethink everything. Unsure of my next step, I took a career quiz (thanks, Mum!), and “landscape architecture” topped the list. I picked a firm name from the phone book, made a call, and never looked back. That one decision led to a career I love—creating places where people truly connect with nature.
WHAT ARE YOU MOST PROUD OF, AND WHAT EXCITES YOU MOST ABOUT YOUR INDUSTRY?
–I’m most proud of building my business from the ground up—and excited about what’s still to come. What truly drives me is the collaboration: when a challenge arises and a team comes together, listens, and finds the best solution. That shared problem-solving energy is what I love most about design.
WHERE DO YOU LIVE AND/OR WORK, AND WHAT DO YOU APPRECIATE ABOUT IT?
–I live in Brisbane, Queensland, surrounded by nature, with beaches and bushland to explore. The weather is perfect nine months a year, and living with wildlife in and around the city is truly inspiring.
WHAT’S ONE THING YOU’D LIKE TO SEE CHANGE IN YOUR FIELD?
–I’d like to see trees classified as infrastructure. They should be given a real value, so that every time one is removed, the true cost is considered. Right now, they’re seen as far less important and are often removed too easily, without recognizing the broader impact.
WHAT COLOR ARE YOU MOST DRAWN TO?
–Surprise, surprise! I’m most drawn to blues and greens.
Didier CHINCHOLLE
Head of Experience Design, Digital Services
Ericsson
Stockholm, Sweden ericsson.com
ZERO GRAVITY
Didier Chincholle is Head of Experience Design at Ericsson, where he leads a multi-award-winning UX (User Experience) team based in Stockholm. Originally from France, he holds a Master’s degree in Architecture and Design and began his career designing astronaut equipment and air traffic control interfaces. He joined Ericsson in the late ’90s and has since led design teams across several business units.
“D ream—and build your dreams! If you don’t, someone else will hire you to build theirs.”
WHAT DID YOUR CHILDHOOD SELF WANT TO BE WHEN YOU GREW UP?
–Growing up, my passions were skiing and drawing—two pillars that still define me today. While a career in sports wasn't planned, I've always embraced an active, adventurous lifestyle, which now finds its perfect setting in Sweden's winter paradise. My love of sketching evolved into an interest in architecture and design, though my path unexpectedly led to aerospace and telecommunications. Ultimately, I've learned that life often presents opportunities too significant to overlook…
WHAT WAS YOUR FIRST JOB IN YOUR FIELD?
–It was in the 90s, following my studies at the International Space University and the extraordinary privilege of learning from icons like Buzz Aldrin—the second person to walk on the Moon. I was hired by Aerospatiale in the Paris area, France. That unforgettable experience fundamentally shaped my understanding of user-centered design, the power of innovation, and the essential harmony between form and function—principles that continue to guide my teams and our work.
WHAT ARE YOU MOST PROUD OF?
–Successfully navigating the challenges of building and scaling effective design teams within large, technologically advanced organizations like Ericsson stands as my proudest professional achievement.
WHAT MAKES DESIGN EXCEPTIONAL?
–The compelling convergence of aesthetics, practical usability, and long-term sustainability, all driven by an inherent desire to push beyond conventional boundaries. It's at this vital intersection that truly remarkable and impactful outcomes are achieved.
DINA SARHANE
Founder + Lead Architect
DS Studio Toronto, Ontario, Canada dsstudio.ca
FROM FASHION DREAMS TO BUILT REALITIES
Visionary architect Dina Sarhane, founder of DS Studio, brings over 15 years of global experience to human-centered design. Her work spans luxurious interiors, vibrant public spaces, and innovative healthcare environments, all rooted in collaboration and well-being. Chair of ULI Ottawa’s District Council and Sessional Lecturer at Carleton University, she champions spaces that inspire connection, accessibility, and purpose.
WHAT DID THE CHILD VERSION OF YOURSELF WANT TO BE WHEN YOU GREW UP?
–A fashion designer. But my parents encouraged more traditional paths. I later discovered that many fashion designers had studied architecture, so I decided to pursue the challenging field myself.
WHO OR WHAT SET YOU ON THE PATH TO YOUR FIELD OF WORK?
–It was the young Alexander McQueen who inspired me with his storytelling and avant-garde approach to fashion. At the time, there were few young, rule-breaking architects to look up to, so fashion designers like McQueen and Moschino in the ’90s deeply resonated with me.
WHAT MOTIVATES YOU, AND WHAT EXCITES YOU MOST ABOUT THE DESIGN AND ARCHITECTURE INDUSTRY?
–The fact that design and the built environment profoundly shape the human experience. Spatial design can lift your mood, spark social connection, influence behavior, encourage relaxation—even create euphoria. Humans adapt to their surroundings, and that responsibility is both a powerful motivator and a great privilege for the design community.
WHAT ACHIEVEMENT ARE YOU MOST PROUD OF?
–Designing public spaces and public-facing projects feels most rewarding. It’s hard for emerging practices to shape cities, as strict procurement rules often exclude young firms. Working with cities, institutions, nonprofits, and rental developers makes us feel we’re having a real impact—positively shaping how people live and interact.
WHAT COLOR ARE YOU MOST DRAWN TO?
–White—pure, adaptable, and calming; it reflects all colors and creates a sacred, serene feeling.
“E xceptional design stems from innovation—the courage to reveal the unseen, explore alternatives, and create beyond the confines of trends.”
Trained in both Québec and France, Edith Normandeau designs distinctive projects rooted in a deep sense of place. A senior landscape architect (AAPQ) with 23 years of experience in urban and natural environments, her approach blends natural, cultural, and historical elements within a sustainable vision—championing movement for all ages and universal accessibility.
WHAT DID YOUR CHILDHOOD SELF WANT TO BE WHEN YOU GREW UP?
–As a child, I climbed trees and built forest huts. I dreamed of becoming an architect while nurturing a deep love of nature. The fusion of those two passions led me to my dream career: landscape architecture.
WHAT WAS YOUR FIRST JOB IN YOUR FIELD?
–With a background in art as well, I began my career as a project manager at Caserne Éphémère in France, a center for artistic practices. There, I created a collaborative project on cities and their networks, which sparked my interest in soundscapes within landscape architecture.
WHICH LIVING TALENTS DO YOU ADMIRE, AND WHY?
–Bernard Tschumi inspires me with his design for Paris’ Parc de la Villette—its bold red “follies” and strong framework create a unique architectural and landscape journey. In the same park, I discovered Alexandre Chemetoff’s Bamboo Garden, a powerful work immersing visitors in a vegetal atmosphere and its acoustic landscape.
A DREAM YET TO BE REALIZED?
–My dream? Designing a vast sound promenade suspended between sky and water, winding along a riverbank or coastline, dotted with lookouts, pathways, and elevated walkways—with “sound constellations” like musical notes in a living landscape score.
“W
hen we fully grasp the power of sensitive design to shape lived atmospheres, we realize just how profoundly our collective work can transform landscapes into true experiences.”
Erin NEUFEGLISE
Senior Manager, Design Royal Bank of Canada Toronto, Ontario, Canada rbcroyalbank.com
BANKING ON DESIGN
Bringing spaces to life with purpose and personality, Toronto-based designer Erin Neufeglise has spent over a decade shaping standout retail, hospitality, and workplace environments. As Senior Manager of Design at Royal Bank of Canada, she leads major projects nationwide—translating strategy into space. With experience on both the agency and client sides, her work blends creativity, innovation, and a deep care for the user experience.
“D esign shapes how we live, work, shop, and vacation—it's a privilege to impact the world in every facet of life.”
WHAT DID YOUR CHILDHOOD SELF WANT TO BE WHEN YOU GREW UP?
–As a child, I was always drawn to virtually anything creative—from doodling fashion designs to attempting to write songs and even hairstyling. If it took some imagination, I was there. Ultimately, my family’s history in the construction and building materials industries swayed me towards interior design.
WHAT COLOR ARE YOU MOST DRAWN TO, AND WHY?
–Historically, I’ve been against choosing a favourite since all colours have their appeal, but a constant that sticks out is all shades of green. Aside from the obvious biophilic associations and being the colour most found in nature, I’m drawn to green because of its versatility—it can be a calming pause from an overstimulating world, but also a bold and unexpected statement colour.
WHAT DO YOU DO TO GET OUT OF A CREATIVE RUT?
–Exercise! There’s nothing like pushing your body physically to help reinvigorate your mind.
WHERE DO YOU LIVE AND/OR WORK, AND WHAT DO YOU APPRECIATE ABOUT IT?
–I live and work in Toronto and like it because of its diversity and food! We’re lucky to be one of the most diverse cities and benefit from that through access to really amazing cuisines from all around the world.
IS THERE A LOCAL SPOT YOU ALWAYS RETURN TO?
–I’m lucky enough to live close to High Park in the west end of Toronto and spend lots of time there with my family. From cycling, searching for bugs in the forest with my boys, or simply having a picnic—having access to nature in the city is the ultimate respite from the chaos of life.
BETWEEN THE SEEN AND THE UNSEEN Freddy CURIÉL
Founder & Creative Director Lapis Bureau (LxB) Shenzhen, China lapisbureau.com
“Our industry has an endless capacity for reinvention since every project has its own set of rules, constraints, and possibilities.”
Based in Shenzhen, Italian architect and landscape planner Freddy Curiél studied in Venice, Copenhagen, Milan, and Delft, and has worked across Europe and Asia. As Founder and Creative Director of LAPIS BUREAU, he leads multidisciplinary projects spanning architecture, interiors, landscape, and product design—collaborating with clients such as BOSCH, Luxottica, Cassina, Giorgetti, Tencent, Huafa, MoMA Design Store, and more.
WHAT DID YOUR CHILDHOOD SELF WANT TO BE WHEN YOU GREW UP?
–I was always drawn to building and creating—Lego was my favorite toy. I’d spend hours constructing imaginary worlds, and that’s where my love for architecture first took root. Even now, every Chinese New Year, I buy and build the Lego Zodiac Animal as a fortune charm for the studio—a fun tradition that reminds me that architecture, at its heart, is about bringing ideas to life, one piece at a time.
WHAT COLOR ARE YOU MOST DRAWN TO, AND WHY?
–Indigo. As a child, I was fascinated by its place in the rainbow—it seemed to stand apart. Being colorblind, I’ve developed a more analytical way of understanding color, and indigo—equal parts cyan and magenta—feels like a bridge between the visible and invisible. It still inspires how I explore perception and creativity in my work.
A DREAM YET TO BE REALIZED?
–I’d love to design and build something meaningful for my hometown, Trieste. Although I’ve lived abroad for 25 years, I still carry the city’s spirit with me—its cultural layers, seaside charm, and architectural richness. Whether a park, cultural space, or home, I dream of creating something that gives back and deepens the city’s connection with its people.
IF YOU COULD HOST A CREATIVE BRAINSTORMING SESSION WITH ANY THREE PEOPLE, LIVING OR DECEASED, WHO WOULD YOU INVITE—AND WHAT WOULD BE DISCUSSED?
–Great question! I’d invite Oscar Niemeyer, Nikola Tesla, and Oscar Wilde to imagine “The City of the Future.” Niemeyer would explore harmony with nature, Tesla would push boundaries on innovation and sustainability, and Wilde would remind us that beauty, wit, and narrative give space its soul.
Frédérique ALLARD
Fondatrice, Architecte paysagiste, AAPQ/CSLA
Friche Atelier
Montréal, Québec, Canada fricheatelier.com
CREATION AS A PLAYGROUND
A passionate lover of art, architecture, and horticulture, Frédérique Allard founded Friche Atelier in 2014 after earning her bachelor’s degree in landscape architecture from the Université de Montréal. With a keen eye and deep sensitivity, she has developed strong expertise in residential landscaping, often collaborating with seasoned architects and contractors. Each project receives the same meticulous care—from design to material selection and planting.
WHAT WAS YOUR FIRST JOB IN THE FIELD?
–During my landscape architecture studies, I spent my summers maintaining and redesigning residential gardens. From one contract to the next, I discovered the freedom of outdoor work and the simple joy of being surrounded by flowers, lush greenery, and birdsong.
WHAT’S THE BEST CAREER ADVICE YOU’VE RECEIVED?
–During an internship, a passionate landscaper told me to “go play” rather than “go to work.” That mindset stuck with me. In moments of doubt or stress, I remind myself it’s all about perspective—we can choose to play.
WHICH COLOUR ARE YOU MOST DRAWN TO, AND WHY?
–Green, of course! More specifically, verdigris—a natural patina formed over time. Soft and soothing, this blend of blue, green, and grey evokes balance and the beauty of living things.
WHAT PROJECT ARE YOU MOST PROUD OF?
–The Jackson garden, a wonderful example of collaboration between clients, architects, landscape architects, and contractors. The design highlights both the original stone house and its contemporary addition, using materials like corten steel, natural stone, and concrete to frame lush vegetation in harmony.
WHICH TALENTS OR MENTORS DO YOU PARTICULARLY ADMIRE?
–Like many landscape architects, I’m inspired by Piet Oudolf and the New Perennial Movement. His work reshaped how we design gardens and observe nature. His sensitivity captures everything I love about this profession.
“Ilive
in Montréal, a city I love for its eclectic neighbourhoods, back alleys, parks, and cafés. To recharge, it’s Corsica that calls me—between sea and mountain… or the Gaspé Peninsula, cradle of my childhood summers.”
James Brittain
SPACES WITH SOUL Giorgio CUI
Giorgio Cui has been Chief Architect and Senior Urban Planner at BTA since 1995. With 25 years of experience, he leads largescale sustainable master plans worldwide, including Dallas’ "Connected City" and "Greater Moscow". Currently active in Saudi Arabia, Morocco, India, and Albania, he drives major large scale projects from concept to construction, combining strong design leadership with a hands-on, collaborative approach.
“Create, don’t copy. Within each of us lies beauty and proportion. We only need to ignite the creative energy that flows from the soul.”
WHAT DID THE CHILD VERSION OF YOURSELF WANT TO BE WHEN YOU GREW UP?
–I’ve always felt that architecture was my calling. From a very young age, I was passionate about hand drawing and loved designing buildings, and sometimes objects too. I’d draw in sections or play with perspective.
WHAT SET YOU ON THE PATH TO YOUR FIELD OF WORK, AND HOW DID THE STORY UNFOLD?
–Growing up in Italy in a family of builders, I was immersed in the world of construction from an early age. It was my paternal grandmother,
Architecture Director - Senior urban Planner
RBTA- Bofill Taller de Arquitectura
Barcelona, Spain ricardobofill.com
though, who first saw in me the potential to become an architect. Drawn to art and the harmony of proportions, I chose to study in Florence—a city that quietly shaped my vision through its beauty and balance.
IN YOUR OPINION, WHAT ARE THE ESSENTIAL QUALITIES OF EXCEPTIONAL DESIGN?
–A design’s uniqueness and its ability to integrate with the context and culture of the place where it’s built are quintessential parts of exceptional design. The Romans called it the Genius Loci—the spirit of the place. Every
location has a soul, and what we design must resonate with that energy.
AND TOMORROW, AND THE DAY AFTER?
WHERE DO YOU SEE THE FUTURE OF YOUR PROFESSION?
–Today, there’s a lot of talk about artificial intelligence and how it will revolutionize everything, including architecture. AI is a tool, not a crutch. Those who continue to study, travel, and explore other cultures—those who nurture their inner creative spirit—will be the ones who make a difference, even in an AI-driven world.
Creative Director / CRE+ Design Department Head / School of Art Design & Media, East China University of Science & Technology Shanghai, China ecust.edu.cn
THE ART OF THE ARCH
Hao Shan is the founder of Cre+ Design, established in 2009, and a leading voice in visual communication. He currently serves as Director of the Department of Visual Communication at the School of Art, Design & Media at East China University of Science and Technology. Bridging practice and academia, his work reflects a commitment to creative excellence, design education, and cross-disciplinary collaboration.
WHAT’S THE BEST CAREER ADVICE YOU’VE RECEIVED?
–Thinking leads to questions, but it’s through doing that the answers reveal themselves. Action brings clarity.
WHAT ACHIEVEMENT ARE YOU MOST PROUD OF?
–Just yesterday, I learned that my branding project for HYZY World Youth Activity Center—China’s largest—won Gold at the A’ Design Award in Italy. The client had previously held a national logo competition but wasn’t satisfied with the results. They approached me to take on the challenge.
WHAT WAS THE DESIGN BRIEF, AND HOW DID YOU APPROACH IT?
–The brief was highly challenging. The logo needed to be modern, minimalist, and reflect educational care, a pursuit of perfection, and a vision for the future—while also referencing the building’s identity. I studied youth center logos across China and proposed a meaningful, unconventional direction.
WHAT MAKES THIS LOGO SO UNIQUE?
–I focused on the arch—an iconic feature of the center—and combined it with a circle to symbolize wholeness and openness. The 3D form works both in print and as a spatial object. At its center is a “gateway to the future” and a hidden heart revealed by shadow—echoing the center’s theme of “nurturing with love.”
WHAT SETS THIS LOGO APART FROM TRADITIONAL BRANDING?
–It breaks from convention—not just as a visual mark, but as a living, interactive spatial element. By integrating light, shadow, and form, it becomes dynamic and expressive—something AI can’t easily replicate. It carries life, meaning, and the power to communicate on a deeper level.
“A design that truly stands out is one that embodies wisdom, showcases original creativity, and proves to be both effective and impactful—it naturally rises above the rest.”
OH, THE PLACES DESIGN WILL GO! Joanne CHAN
Blending creativity with strategy, Fine-Arts-graduate-turnedindustry-leader Joanne Chan is the driving force behind SDI Design’s workplace innovation. As Principal, Chief Innovation Officer, and Workplace Practice Lead at the award-winning Canadian firm, she brings over 20 years of interior design experience to every space she shapes.
WHAT’S THE WORST CAREER ADVICE YOU’VE EVER RECEIVED?
–“Your work will speak for itself. If you have to explain it, it’s not good.” It sounds noble, but it’s misleading. Design doesn’t exist in isolation—it lives through conversation. Being a strong designer isn’t just about creativity or skill; it’s about leading conversations, cultivating relationships, and confidently championing your ideas with purpose and intention.
WHERE DO YOU LIVE AND/OR WORK, AND WHAT DO YOU APPRECIATE ABOUT IT?
–Although I live and work in Canada—and truly value its diversity and progressive approach to design—my heart is rooted in all that is Japan. Japanese design has always moved me: it’s intuitive, empathetic, and deeply human. I’m inspired by how it balances urban intensity with calm, and how every detail—from signage to spaces— is crafted with accessibility and dignity. That’s design at its highest form: beautiful, functional, and above all, ethical.
WHAT’S ONE THING YOU’D LIKE TO SEE CHANGE IN YOUR FIELD?
–I’d love to see more integration across design disciplines. The magic happens when we blur the lines—bringing the warmth of residential into workplaces, the flow of hospitality into healthcare, or the storytelling of retail into public space. When we blend the best of each, we create environments that truly support how people live, connect, and feel.
IF YOU COULD HOST A CREATIVE BRAINSTORMING SESSION WITH ANY THREE PEOPLE, DEAD OR ALIVE, WHO WOULD YOU INVITE, AND WHAT WOULD THE TOPIC BE?
–Marcel Duchamp, Ludwig Mies van der Rohe, and Dr. Seuss. A wild mix, I know—but together, they’d explore “The Architecture of Imagination.” We’d talk about designing spaces that don’t just function, but inspire. Places where form meets wonder, and logic dances with joy. It wouldn’t be about finding perfect answers, but about imagining new ways of seeing.
“Black, to me, is more than just a colour— it’s a presence. A quiet strength that never needs to shout to be seen.”
Jonathan CHA
Landscape Project Director Lemay Montréal, Québec, Canada amenagement.uMontréal.ca
URBAN FABRICS, HUMAN MEMORY
IN WHICH CITY DO YOU LIVE AND WORK?
WHAT PROJECT LAUNCHED YOUR CAREER?
Meet Jonathan Cha, a PhD in urban planning and landscape architect whose practice, teaching, and research explore the identities and foundations of public space. A lecturer at Université de Montréal and a devoted lover of the city, he theorizes parks from past to present. Among other projects, he coordinated the 2020–2030 Master Plan for Parc Jean-Drapeau.
–I’m a lifelong islander from Montréal, from one generation to the next, with a deep love for the city. I have a soft spot for Saint-Viateur Street, the Lachine Canal, Atwater Market... and the Orange Julep, where I photograph my son every year on his birthday!
AS A CHILD, WHAT DID YOU WANT TO BE WHEN YOU GREW UP?
–As a kid, I dreamed of becoming an archæologist—definitely inspired by the Indiana Jones film trilogy!
WHO WAS THE FIRST PERSON TO SET YOU ON THE PATH TO YOUR FIELD?
–Ron Williams, my first-year undergrad professor, gave me the love of travel, teaching, and reflecting on the meaning of place. From mentor, he became a friend. When he retired, I took over his “History and Theory” course and have since had the pleasure of teaching in over a dozen countries— rom Italy to Brazil to China.
–A heritage study on Dorchester Square and Place du Canada kickstarted a fruitful collaboration with the firm Claude Cormier et Associés (CCxA), and led me to contribute to several development projects in downtown Montréal.
WHAT MOTIVATES AND INSPIRES YOU MOST IN THE DESIGN AND ARCHITECTURE INDUSTRY?
–The ability to influence the evolution of cities, to shape our living environments, to enrich people’s daily lives—all while strengthening our collective identity.
“I f I could bring together minds, living or gone, I’d invite Frederick Law Olmsted, Claude Cormier, and Phyllis Lambert to imagine the future of public spaces together.”
“Design is this ongoing negotiation between logic and feeling, and that balance is endlessly fascinating to me.”
WHAT COLOR ARE YOU MOST DRAWN TO, AND WHY?
–I’m drawn to deep, desaturated blue. It’s contemplative, timeless, and holds an emotional weight that feels both grounded and infinite. It reminds me of dusk—that moment when the world slows down, and reflection feels natural. There’s a quiet depth to it that I keep coming back to.
WHAT MOTIVATES YOU, AND WHAT CONTINUES TO ENCHANT YOU MOST ABOUT THE WORLD OF DESIGN?
–I find motivation in believing design can clarify complexity and provoke change. I’m continually enchanted by the intersection of systems and storytelling—how structure becomes expressive, how data carries emotion.
IN YOUR OPINION, WHAT ARE THE ESSENTIAL QUALITIES OF EXCEPTIONAL DESIGN?
–Great design feels inevitable—like it couldn’t have been anything else. It balances clarity with personality, restraint with resonance. It’s thoughtful without being loud. It stays with you not because it shouts, but because it hums in the background, perfectly in tune.
WHAT’S ONE THING YOU’D LOVE TO SEE CHANGE IN YOUR FIELD?
–I’d love to see more recognition of the thinking that leads to the outcome. The process—the questions, the research, the decisions left on the cutting room floor—is where the real work lives. We often celebrate the final polish, but we should be just as curious about how we got there.
Lei YE
Senior Product Designer McKinsey and Company Boston, Massachusetts, United States mckinsey.com
WHEN SYSTEMS TELL STORIES
Lei Ye crafts digital experiences where design marvellously meets storytelling. Specializing in user experience, user interface and data visualization, his work has earned nods from Red Dot, DNA Paris, and Good Design. With a sharp sense for strategy and style, he’s shaped products at startups and global firms alike—and now brings that insight to juries for the W3, Davey, Communicator, and Orpetron Awards, to name a few.
Louise MAZAURIC
Architect BGIS
Montréal, Québec, Canada
bio.site/ArchiChic
Trained as an architect in Quebec, born in Japan and active in Montréal, Louise Mazauric stands out for her commitment to inclusive, sustainable, and accessible design. She weaves together practice, volunteer work, and teaching to help build a more equitable Canada—while contributing her expertise to the federal projects of tomorrow.
IT’S NEVER TOO LATE TO ACHIEVE YOUR DREAMS
WHAT ACHIEVEMENT ARE YOU MOST PROUD OF?
–When I received the Ones to Watch Award from the American Society of Interior Designers in Denver in 2024, I became the first winner from Quebec—and the only honoree from Canada that year. This award recognizes my dedication to the next generation of architects and designers, as well as my involvement in the real estate industry promoting equity, diversity, and inclusion through CREW M, an organization that supports women’s success in commercial real estate.
WHERE DO YOU SEE THE FUTURE OF YOUR PROFESSION?
–The future lies in closer collaboration between architects and designers, and with other real estate and construction disciplines. Architecture and design are moving toward greater inclusion, sustainability, and innovation.
HOW DO YOU OVERCOME A CREATIVE BLOCK?
–Every interaction fuels me. Whether it’s virtual or in-person meetings, teaching, lectures, or coffee chats—it all energizes me. Learning from others, sharing, discovering new perspectives: that’s how I revive my creativity and find momentum.
ANY FINAL WORDS?
–I encourage every professional reading this to step outside their comfort zone and venture into the unexpected to try new experiences. For me, representing Canada at Miss Face of Humanity was a transformative experience. I learned the power of engagement, how to communicate on social media, speak in public, take the stage… Today, I try to use those skills to elevate our industry and its rising talent.
“As
a woman, immigrant, emerging industry professional, and survivor of school bullying—I know what it feels like to be excluded. Today, as an architect and designer, I’m committed to building a more inclusive, equitable, and sustainable Canada for all.”
Marc STREKER
Director (until 2023)
École supérieure des Arts Saint-Luc Bruxelles
Limal, Belgium
stluc-bruxelles-esa.be
“W hat delights me is how architecture and design shape the world—and how they project us into space, allowing us to exist within it.”
MATERIAL AS MEANING
TELL US ABOUT THE CHILD YOU ONCE WERE.
–As a child, I already longed to be an adult—free to think and act on my own terms. At the same time, I was fascinated by the world of the cabin—a private refuge where one could reflect, withdraw, or let imagination run wild.
WHO FIRST SET YOU ON THE PATH TOWARD YOUR FIELD, AND WHAT WAS YOUR FIRST JOB?
–Graphic designer and typographer Michel Olyff played a pivotal role. His work—and the way he spoke about it—inspired me to pursue teaching and research in the arts. My first job was as a lecturer at the Interior Architecture School in Ganshoren, Brussels. Coming from fine arts, I discovered spatial arts there, and they’ve stayed with me ever since.
WHICH HISTORICAL FIGURE DO YOU MOST IDENTIFY WITH, AND WHY?
–A Brutalist architect from the 1950s, like Roger Bastin or Léon Stynen. Concrete—both raw and captivating—still strikes me as a poetic, timeless material. The imprint of wooden molds gives it an organic, almost primal presence.
WHAT COLOR ARE YOU MOST DRAWN TO, AND WHY?
–Black, like Pierre Soulages’ outrenoir—a luminous black, deep and vibrant, that reveals material while capturing light.
WHICH DESIGN OR ARCHITECTURAL PROJECT DO YOU WISH YOU HAD CONCEIVED?
–The Guggenheim Museum in New York, designed by Frank Lloyd Wright. A brilliant example of form serving function.
A graduate of ERG and UCLouvain, Marc Streker worked as a copywriter at McCann Erickson and as a freelance consultant to the European Commission before leading the École supérieure des Arts Saint-Luc Bruxelles. A former visiting professor in Brussels, Milan, and Montréal, he is also an author, critic at Art même, jury member, and speaker in Belgium and abroad.
LEED-accredited architect Marie-France Bélec holds a master’s degree in architecture and sustainable development, with a specialization in bio-based materials. With over 20 years of experience, she partnered with Laure Giordani to found Automne, architectes.
WHAT COLOUR ARE YOU MOST DRAWN TO, AND WHY?
–I’m drawn to mandarin. It’s vibrant, appetizing... full of life!
WHO FIRST SET YOU ON THE PATH TO YOUR FIELD, AND HOW DID IT UNFOLD?
–I grew up in a house designed by architect André Bessette. The circulation, ceiling heights, natural light, and sunsets in the dining room... everything about that home shaped my perception of architecture. That’s when I realized how much the built environment can influence people. Later, when the surrounding farmland and forests were replaced by urban sprawl, I saw we were heading in the wrong direction. Unless we build collective awareness, our planning choices will remain compulsive acts—mostly harmful to ourselves.
WHAT’S THE BEST CAREER ADVICE YOU’VE RECEIVED?
–During a student exchange, the renowned architect Patrick Berger—our visiting professor—shared this advice: “When you’re faced with two seemingly unrelated problems, link them. A solution will emerge.” Try it. It’s magic!
A DREAM STILL TO BE REALIZED?
–I’d love to develop a mobile app for matchmaking in the circular economy, focused on residential renovation—a practical and collaborative model that could be exported internationally. But first, I’d like to be awarded mandates that embrace hempcrete construction.
“T he future of our dynamic industry is bright—if we stay grounded in healthy values and don’t let fear, greed, or individualism take over.”
Morphis Limited Hong Kong, China morphisdesign.com
THE EVERYDAY EXTRAORDINARY
“A s boundaries between these worlds dissolve, the real and the virtual begin to enrich one another—and the extraordinary becomes everyday.”
Award-winning designer and creative thinker Mark Blackwell shapes contemporary landscapes across Asia and the Middle East by enriching nature and curating multi-sensory experiences. He creates socially sustainable and culturally animated spaces that grow over time. An external design critic at several universities across Asia and a design advisor to Design Trust Hong Kong, he champions creative exchange and community connection through emotionally resonant public realm design.
WHAT MOTIVATES YOU MOST ABOUT THE FIELD OF DESIGN AND ARCHITECTURE?
–Ultimately, it's about connecting people to places—across geographies, typologies, and scales—as our most memorable destinations evolve into multicultural platforms for future generations to experience and engage with. The most successful designs harness collaborative creativity to shape innovative, sustainable environments that resonate with emotion, honor nature, and reflect context.
WHERE DO YOU SEE THE FUTURE OF YOUR PROFESSION?
–We’re seeing our future projects shift from purely physical landscapes toward an integrated physical and digital universe. The challenge is to balance this evolution with grounded, physical realities that can adapt narratives and shape cities that are not only iconic, but also livable and lovable.
WHAT IS ONE THING YOU’D LIKE TO SEE CHANGE IN YOUR FIELD?
–I’d like to see more integrated and collaborative responses that challenge conventional approaches—particularly when it comes to climate change in urban contexts. We must continue to inspire innovative thinking that puts people and ecosystems first, reimagining cities as living systems that actively contribute to reducing atmospheric carbon dioxide and promoting a more sustainable lifestyle.
China Europe International Design Culture Association (CEIDA) Antwerp, Belgium ceida.eu
EAST & WEST: BRIDGING THE GAP
Secretary General of CEIDA’s Belgium office since 2019, Martin Liu is dedicated to bridging Eastern and Western creative industries. He champions Chinese creativity on the global stage and supports emerging talent through career development and cultural exchange. As a higher education consultant in Europe, he mentors artists and designers in navigating international academia and thriving in the global creative economy.
“Design is more than self-expression —it is a way to engage in dialogue on a global scale.”
WHAT PROJECT LAUNCHED YOUR CAREER?
–As a Chinese designer and cultural entrepreneur, I’ve always aimed to break geographical barriers and connect global creative talent. During my MA at Goldsmiths, I received a fully funded EU scholarship in Design Thinking and Audience Development, which deepened my understanding of design’s societal impact.
WHERE DO YOU SEE THE FUTURE OF YOUR PROFESSION?
–While many European universities struggle to recruit qualified PhD candidates in design—often offering substantial funding—there’s a large pool of motivated Chinese scholars eager to pursue research abroad but hindered by systemic barriers. Through CEIDA, I aim to bridge this gap by fostering direct connections, supporting applications, and encouraging inclusive academic exchange between China and Europe.
WHAT IS THE BEST CAREER ADVICE YOU’VE EVER RECEIVED?
–Don’t hesitate or second-guess yourself—take the leap and pursue what truly inspires you. Courage is the first step toward success, and once you begin, you’re already halfway there.
WHAT EXCITES YOU MOST ABOUT THE DESIGN AND ARCHITECTURE INDUSTRY?
–Design and architecture fuse æsthetics with function, turning real-world challenges into inspiring solutions. I’m driven by the chance to empower others with the tools to create this harmony—enhancing how we live and understand the world.
WHAT ARE THE ESSENTIAL QUALITIES OF EXCEPTIONAL DESIGN?
–Exceptional design blends innovation, function, and emotional resonance. It not only solves problems but creates lasting connection, inspiration, and empathy.
May FAWZY
Founder and Creative Director
MF Design Studio
London, United Kingdom
mf-studio.co.uk
LONG LIVE THE REIGN OF WELLNESS
With a design career spanning continents and disciplines, visionary designer May Fawzy has led major commercial interior projects from the Middle East to the UK. In 2011, she founded MF Design Studio, known for wellnessdriven, sustainable spaces. A WELL Accredited Professional and former President of the British Institute of Interior Design (BCID), she now serves on the board of the European Council of Interior Architects (ECIA), shaping the future of eco-conscious design.
WHAT DID THE CHILD VERSION OF YOURSELF WANT TO BE WHEN YOU GREW UP?
–I always knew I wanted to be an interior designer. As a child, I built interiors and furniture with Lego bricks. My parents noticed my passion early on and started bringing home design magazines—introducing me to a world that still fascinates me today.
WHAT WAS YOUR FIRST JOB IN THE FIELD? GIVE US A PLACE, A TIME, A MINDSET!
–In 2005, I started as an interior architect at a top architectural firm in the Middle East. I worked on everything from airports to national libraries. My mindset? Absorb everything. I was eager to learn, surrounded by brilliant colleagues—many of whom became lifelong friends.
WHAT PROJECT LAUNCHED YOUR CAREER?
–Winning the British Council for Offices Project of the Year in London in 2016 was a turning point. We were the first small studio to win against industry giants since the 1980s. It gave both me and MF Design Studio a huge boost—and launched an exciting new chapter in our journey. Seeing my own studio stand up against the UK's top interior architecture firms is definitely one of my proudest achievements.
WHERE DO YOU SEE THE FUTURE OF YOUR PROFESSION?
–There’s a growing focus on well-being in the built environment. More than ever, we’re designing not just for æsthetics or function, but for mental and physical health—creating spaces that truly support the people who use them. Design has the power to transform not just spaces, but lives.
“Aword
of wisdom? Create with purpose, with heart, and the courage to challenge convention.”
Pete EVANS
Assistant Professor, Industrial Design Iowa State University Ames, Iowa, United States iastate.edu
WHAT DO YOU APPRECIATE MOST ABOUT WHERE YOU LIVE AND WORK?
–I live and work in the Midwest United States—a place I value for its connection to family, my proudest achievement, as well as its wide-open skies and great horizons.
WHAT DID YOUR CHILDHOOD SELF DREAM OF BECOMING?
–Growing up, I remember wanting to be a pilot, an astronaut, or an explorer—probably thanks to the release of Star Wars in 1977.
WHAT’S THE BEST—AND WORST—CAREER ADVICE YOU’VE EVER RECEIVED?
–The best advice I’ve followed? Always keep your tank at least half full—mentally, emotionally, and creatively. The worst? Don’t talk to the client. Nonsense! Communication is essential to meaningful, successful work.
A BRIDGE TO THE FUTURE
Pete Evans has been blending design innovation with cutting-edge research for over 25 years. A dynamic voice in national American Institute of Architects (AIA) circles and senior associate editor at Architosh, Pete explores XR, 3D printing, drones, and digital design. He leads the Iowa State Forward Learning Experience (FLEx) mobile STEM outreach lab and a $2.1M research project focused on emerging technologies in affordable housing and workforce development.
“T here’s something about blue—like deep waters and open skies—that pulls me in.”
WHAT MOTIVATES YOU, AND WHAT EXCITES YOU MOST ABOUT YOUR FIELD OF WORK?
–The ability to positively impact the future—that’s what drives and inspires me most. My areas of research include extended realities, simulation, digital communication and design, and the impact of 21st-century skills on K-16 students (kindergarten to college) and the workforce. I also focus on human-centered design, human-computer interaction, technology and design thinking, phenomenology, and perceptual cognition.
WHAT ARE THE ESSENTIAL QUALITIES OF EXCEPTIONAL DESIGN, AND WHERE DO YOU SEE THE FUTURE OF YOUR PROFESSION?
–Exceptional design operates on many levels—functionally, emotionally, and contextually. Looking ahead, I see the future of the profession in solving complex problems across diverse fields, always with a human-centric approach at its core.
Primo ORPILLA
Co-founder
Studio O+A
San Francisco, California, United States o-plus-a.com
THE CURIOSITY COMPASS
Primo Orpilla is the co-founder of Studio O+A, a San Francisco-based design firm redefining the modern workplace. Known for bold, people-centered spaces for clients like adidas, Microsoft, and Nike, Primo leads with a vision of design as a tool for transformation. During the pandemic, he pioneered hybrid office strategies, resulting in O+A’s acclaimed digital guides A Toolkit for the Times and The Eco Playbook.
“A s designers in a world of constant change, our greatest strength is a mindset of relentless curiosity.”
WHAT WAS YOUR FIRST JOB IN THE FIELD OF DESIGN?
–My very first job was as an intern at DesignMark, an interior design firm in Mountain View, California, back in 1986. This was during the early days of Silicon Valley, and DesignMark focused on corporate office design— which was exactly the kind of work I was hoping to do.
WHAT ATTRACTED YOU TO THAT FIRM IN PARTICULAR?
–Several things stood out. The founder, Randy Horton, had graduated from the same program I would later attend, and he had worked at Atari before launching the firm. But what really drew me in was their early use of computer-aided design. At the time, most firms were still drafting by hand, so seeing one embrace digital tools felt incredibly innovative.
WHAT WAS THE WORK ENVIRONMENT LIKE BACK THEN?
–It was a traditional setup—think 8x8 cubicles and a few conference rooms. The client base was impressive, with companies like Lockheed, NASA, and tech startups. I actually landed the internship because my girlfriend's roommate was one of the lead designers there.
WHAT KIND OF WORK DID YOU DO AS AN INTERN, AND WHAT DID YOU LEARN FROM IT?
–I started at the very bottom—making coffee, organizing storage, sending faxes, plotting drawings. But that experience taught me the value of humility and eagerness to learn. I vividly remember organizing the materials library and realizing how critical it was for designers who needed up-to-date samples and information. That attention to detail and support role shaped my entire approach to teamwork in design.
Saty SHARMA
Professor in Design for Sustainability
Savannah College of Art and Design (SCAD) Savannah, Georgia, United States scad.edu
Merging psychology, sustainability, and design, Saty Sharma turns insight into action. A professor at SCAD, his work bridges global industry experience with research on behavior change, gamification, and sustainable living. From shaping products for global brands like Philips and Electrolux to now inspiring the next generation in the classroom, he’s on a mission to design not just better products—but better habits for a better world.
FROM PRODUCT TO PURPOSE
“Go
beyond the functional and material aspects of design and consider the social and symbolic meaning associated with it. Simply said, a good design should aim to make users feel the way they want to feel.”
WHAT DID YOUR CHILDHOOD SELF DREAM OF BECOMING?
–As a kid, I was always into hands-on creative work— cutting, folding, fixing, building. I’d tinker with paper, tools and machines. That curiosity led me to study Mechanical Engineering. As I delved deeper into the subject, I realized what truly excited me was the creative side of engineering—designing things, solving problems in inventive ways. That’s what led me to product design.
WHO OR WHAT FIRST SET YOU ON THE PATH TO DESIGN?
–Meeting a group of young industrial design grads was a turning point. Their work lit a spark in me. My first role was as a product designer in water filtration, back in 2005 in New Delhi. It was a hands-on, intense experience that gave me a solid foundation—and eventually opened doors to working with global brands like Philips and Electrolux.
WHICH PROJECT TRULY LAUNCHED YOUR CAREER?
–While my career in industrial design began with the development of various consumer durables and medical devices, I soon began questioning how design could be more responsible. That curiosity led me toward sustainability, behavior change, and eventually, a PhD in Design for Behavioral Change.
WHAT LED YOU TO FOCUS ON SUSTAINABILITY?
–This research explored how game-based approaches could encourage the adoption of sustainable behaviors, opening new pathways to understand how design can drive environmental and social change. It became the catalyst for my transition into sustainability-focused design and completely reshaped how I perceive design today.
Sheng-Hung LEE
Ph.D. researcher and designer Massachusetts Institute of Technology Cambridge, Massachusetts, United States shenghunglee.com
FROM BUTTONS TO BEHAVIORS
Researcher and designer at MIT AgeLab and board director of the Industrial Designers Society of America (IDSA), ShengHung Lee, Ph.D. explores where technology meets humanity— crafting meaning through systems and stories. Grounded in curiosity and shaped by service design, his work is driven by the belief that design is a bridge—not a destination.
TELL US ABOUT THE HERE AND NOW—WHAT ARE YOU MOST PROUD OF?
–Designing the Shanghai Library Innovation Space was especially meaningful—a project that merged public use, storytelling, and forwardthinking design.
WHICH OBJECT OR BUILDING DO YOU WISH YOU COULD REDESIGN EVERY TIME YOU SEE IT?
–The elevator button. A small, overlooked detail with big, untapped potential.
WHERE DO YOU LIVE OR WORK, AND WHY DO YOU LOVE IT?
–I finished my Ph.D. in Human Behavior and Service Design at MIT, and work in beautiful Cambridge, Massachusetts. Thanks to the people, the culture, and the spirit of this university town, it’s an intellectually stimulating setting in which to spread my wings.
WHAT DO YOU DO TO OVERCOME A CREATIVE BLOCK?
–I read random books and talk to people from global design communities either in person or virtually. Ideas often spark from unexpected places. There’s a bookstore in town I’m always drawn to—a constant source of discovery.
WHAT COLOR DRAWS YOU IN THE MOST, AND WHY?
–Neon green and light pink—two eccentric colors that both inspire and energize me.
WHAT MOTIVATES YOU AND EXCITES YOU MOST ABOUT THE DESIGN AND ARCHITECTURE INDUSTRY?
–I see immense potential in human-centered design. It’s most powerful to create with people—not just for them. Exceptional design, in my opinion, means creating sustainable and meaningful solutions that are rooted in empathy.
LOOKING AHEAD, WHERE DO YOU SEE THE FUTURE OF YOUR PROFESSION?
–I see the future progressing through integrated design—blending disciplines, insights, and technologies.
“H ijack your mentors and learn from many, many failures.”
Design for Longevity
Sophie BURKE
Principal
Sophie Burke Design Vancouver, British Columbia, Canada sophieburkedesign.com
OF OCEAN BLUES AND QUIET BEAUTY
Sophie Burke, Vancouver-born and London-trained, founded her eponymous studio in 2004 to create refined, livable interiors rooted in both West Coast nature and European elegance. With a deep belief that thoughtful design enhances wellbeing, she leads a close-knit team crafting timeless, personal spaces—built on trust, collaboration, and an intuitive sense of beauty.
“Iadmire
the work of Ilse Crawford, Norm Architects, and Vincent Van Duysen, and would seize the opportunity any day to spend time with them and learn how they see the world.”
WHAT DID YOUR YOUNGER SELF HOPE TO BECOME?
– I wanted to either be a teacher or an interior designer. I’m glad I chose design—it’s been such a fulfilling career.
WHAT WAS YOUR FIRST JOB IN THE FIELD?
GIVE US A PLACE, A MOMENT, AND A STATE OF MIND.
–I was 21, working as an assistant for a small interior design firm while still in university. I remember sketching ideas for a café façade— the idea of unfettered creativity felt really freeing to me. It took a while to grasp that something I imagined could actually be built and used in the real world.
WHAT COLOR ARE YOU MOST DRAWN TO, AND WHY?
– I love the colour blue. I think it’s because I grew up close to the ocean, and I find it to be a calming, peaceful colour. I love that it’s a complex colour with so many beautiful
shades—from pale morning-sky blue to deep indigo. it can feel fresh and bright, or moody, and subtle, and a million things in between.
IN WHICH CITY OR COUNTRYSIDE DO YOU LIVE AND/OR WORK, AND WHAT DO YOU APPRECIATE MOST ABOUT IT?
–I live in Vancouver, BC. We’re so lucky here— we have forests with old-growth trees to hike in, mountains to ski on, and the ocean to swim in. Nature brings me a sense of calm and endless inspiration. I’m grateful to live in a city where it’s all so close. We also have a cabin on a small off-grid island nearby—it’s truly my happy place.
A DREAM STILL TO BE FULFILLED? TELL US ABOUT IT WITHOUT HOLDING BACK!
–I’m currently working on a collaboration with a local company on a line of furniture and ccessories—something I’ve always wanted to do. I’m really excited about it.
Steve Clem is a principal at TVS and a visionary in architecture and interior design since 1978. Known for his bold ideas, refined detailing, and elegant solutions, his work spans showrooms, offices, lobbies, headquarters, theaters, and aquariums—to name just a few. A mentor and thought leader, he leads a career distinguished by more than 120 design awards and was named Designer of Distinction by the American Society of Interior Designers and American Institute of Architect Fellow in 2014.
“I
’ve spent my life building through design—it’s the joy of being part of the whole process. While others retire, I’m still energized by new creative opportunities.”
WHAT COLOUR DRAWS YOU IN MOST, AND WHY?
–Periwinkle. It reminds me of my mother’s garden—fresh, calm, and uplifting.
WHAT DID THE CHILD VERSION OF YOURSELF WANT TO BE?
–I loved building things with my dad—architecture always felt like a natural path. Dulles Airport by Eero Saarinen sealed it. I was 12, visiting family in D.C., and the soaring roof capturing the spirit of flight was simply unforgettable.
WHERE DO YOU LIVE AND/OR WORK, AND WHAT DO YOU APPRECIATE ABOUT IT?
–I live in Atlanta, Georgia—an urban forest with beautiful green spaces and easy travel access. I’ve been here since high school, but every summer I return to my roots in Alaska to fish, do woodworking, and recharge from Atlanta’s heat.
WHAT’S THE BEST CAREER ADVICE YOU’VE RECEIVED?
–I learned early on to view architecture holistically—both inside and out. That mindset shaped my path. After twelve years working on largescale projects, I shifted toward interior architecture, a move that proved truly transformative in my career.
WHAT WAS YOUR FIRST JOB IN THE FIELD?
GIVE US A PLACE, A TIME, AND YOUR STATE OF MIND!
–I had a few architectural summer jobs during grad school, but my real start was at TVS in 1978. Aside from a brief six-week detour, I’ve been there ever since—and May 2025 marks my 47th anniversary.
WHAT ACHIEVEMENT ARE YOU MOST PROUD OF?
–I’m passionate about big ideas brought to life through detail. I’ve had many fulfilling projects, but my proudest achievement is the Jio World Centre in Mumbai—an extraordinary project on every level.
Los Angeles, California, United States shimodadesign.com
FROM A SPOON TO THE CITY
Susan Chang, partner and founding member of Shimoda Design Group, shapes dynamic spaces for leading global brands across entertainment, media, tech, and real estate. Guided by the philosophy that design is storytelling—from a spoon to the city—her work fosters community, wellness, and innovation. An awardwinning leader, she serves on the Interior Architecture Advisory Board at the Boston Architecture College and mentors rising talent in the design industry.
“To create, grow, and live meaningfully, we must embrace falling short and rising again. It’s not failure that defines us—it’s how we rise after.”
WHAT DID THE CHILD VERSION OF YOURSELF WANT TO BE WHEN YOU GREW UP?
–I dreamed of becoming a costume designer in the flying circus. Learning gymnastics at eight was one of my happiest memories, and I aspired to compete in the Olympics like Nadia Comaneci. When that dream faded at 12, I set my sights on joining the circus as a trapeze artist—and designing my very own costumes.
WHAT IS THE BEST CAREER ADVICE YOU’VE EVER RECEIVED?
–Samuel Beckett said it best: “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” Failure isn’t just inevitable—it’s essential.
WHAT IS YOUR FAVORITE L.A. RESTAURANT, AND WHAT'S YOUR USUAL?
–Manuela LA, tucked into the courtyard at Hauser & Wirth Galleries in the Arts District—
conveniently located just around the corner from my office. It’s the perfect place to end the week with my go-to: a Vesper martini and cream biscuits with prosciutto. Yummy!
IF YOU COULD ORGANIZE A CREATIVE BRAINSTORM WITH THREE PERSONALITIES, LIVING OR DECEASED, WHO WOULD YOU INVITE AND WHAT WOULD YOU BRAINSTORM ABOUT?
–My fantasy brainstorm session would bring together pioneering minds to create with purpose. I’d invite pioneering modernist designer and architect Eileen Gray, visionary sculptor Louise Bourgeois, and trailblazing designer, filmmaker, and architect Ray Eames. Together, we’d design educational toys for girls, a solar-powered wheelchair and a modern innovative brassiere.
Suzanne WILKINSON
Principal Figure3
Toronto, Ontario, Canada figure3.com
WHAT WAS THE MOMENT THAT SET YOU ON YOUR CAREER PATH, AND HOW DID THE STORY UNFOLD?
–My journey into design began in high school when I took a woodworking course that resonated with me. It taught me the importance of planning, understanding materials, and selecting the right tools to create something practical and beautiful. That hands-on experience sparked a passion for thoughtful, well-crafted spaces and led me to pursue interior design. I realized I wanted to improve people’s everyday lives through design that is both functional and inspiring.
WHAT ACHIEVEMENT ARE YOU MOST PROUD OF?
–Winning both a VODA and a Governor General’s Medal in Architecture for the garden laneway house I created with Williamson Williamson Architects. It was deeply personal, reflecting how thoughtful design can transform
FROM WOOD TO WONDER
Award-winning interior designer Suzanne Wilkinson brings nearly 30 years of experience to her role. Since joining Figure3 in 2006 and becoming Principal in 2013, she has helped shape it into one of Canada’s top studios. Honoured with awards including ARIDO, Voda, BILD, The Nationals, and a Governor General’s Award, she also leads sustainability, diversity, and ethical governance initiatives at the firm.
“Lead with empathy and kindness—keep just enough ego to show your brilliance while saving room for fresh perspectives.”
how we live. The recognition affirmed the power of collaboration and the impact of small-footprint, sustainable solutions in urban settings.
WHAT MOTIVATES YOU, AND WHAT EXCITES YOU MOST ABOUT THE DESIGN AND ARCHITECTURE INDUSTRY?
–The belief that design can improve the world drives me. Whether creating environments that support well-being, foster connection, or spark joy, I am motivated by the chance to make a positive impact. I am enchanted by the industry's evolution, and mentoring young designers who bring fresh perspectives reminds me why I fell in love with design.
WHAT COLOR ARE YOU MOST DRAWN TO, AND WHY?
–Green has always been my favorite color. It’s the color of nature and emeralds.
Norsworthy
Verda ALEXANDER
Co-Founder
Studio O+A
San Francisco, California, United States verdaalexander.com
FROM PETRI DISHES TO BREAKING SOME
“Great design challenges us the way the sublime does—it inspires awe, and momentarily suspends us in a state of astonishment or wonder.”
Verda Alexander is a San Francisco-based designer and artist. She is the Editor-at-Large at Metropolis Magazine, co-founder of Studio O+A, and co-host of “Break Some Dishes” podcast that engages designers and innovators in conversations about meeting the challenges of climate change. She is an inductee in Interior Design Magazine’s Hall of Fame and received the Cooper Hewitt National Design Award for Interior Design in 2016.
WHAT DID THE CHILD VERSION OF YOU WANT TO BE WHEN YOU GREW UP?
–I grew up in a house full of science—Petri dishes, slides, beakers, microscopes. I thought I’d be a biologist, maybe even an astronaut. Then in high school, I discovered art class, and it completely changed how I saw the world—and I chose a more rebellious, creative path.
WHO OR WHAT FIRST SET YOU ON THE PATH TO YOUR FIELD?
–It began with my partner at the time. Fresh out of grad school in landscape architecture, he suggested we start an interior design practice. We were young, naive and a bit overconfident, but ready to leap—and it just felt right. We launched our own practice in Fremont, California, in 1991—right by Silicon Valley. The office was next to a tire shop, but the energy, creativity, and belief in our mission made it unforgettable.
WHAT PROJECT LAUNCHED YOUR CAREER?
–Our practice grew steadily, but the real turning point came with Facebook’s first headquarters. I hadn’t even heard of them—they had under 500 employees—but the office we designed for them drew international attention. Suddenly, people everywhere were asking for press kits and photos. That’s when we realized the reach and impact of our work.
WHAT ACHIEVEMENT ARE YOU MOST PROUD OF?
–I’m proud of always trying to put people first—creating a firm that feels like family and prioritizes well-being in a tough industry. Project-wise, the Food for Thought truck stands out. It was a crazy self-initiated idea to bring design to communities, and it ended up becoming a beautiful book. It truly pushed and inspired our team.
Zhaodi WANG
Senior Interaction Designer
Google
New York, New York, United States
EMPATHY, EXPERIENCE, IMPACT
“K eep questioning, keep experimenting, and never wait for permission to create something meaningful.”
Celebrated interdisciplinary UX designer Zhaodi Wang brings over a decade of innovation across digital health, consumer tech, hardware, AI art, and environmental design. Now a Senior Interaction Designer at Google, she shapes seamless global payment experiences for millions. Her passion for intuitive, human-centered design has earned her international acclaim and driven impact across industries.
WHO WAS THE FIRST PERSON—OR WHAT WAS THE MOMENT—THAT SET YOU ON YOUR CAREER PATH, AND HOW DID IT UNFOLD?
–A shout-out to my professor, Mr. Zhang Yujun, who taught Design 101 in my first year of college and planted the seeds that grew into my design career. We spent hours exploring global artists and designers, purely for the joy of it. I began to develop my own taste, experiment with different styles, and ultimately shape my perspective as a designer.
WHAT ACHIEVEMENT ARE YOU MOST PROUD OF?
–I’m quite proud of leading the design system for Google Wallet and Payment. By creating scalable components and guidelines, we’ve improved accessibility, consistency, and cross-platform compatibility—empowering users with secure and seamless experiences.
WHAT MOTIVATES AND EXCITES YOU MOST ABOUT THE DESIGN AND ARCHITECTURE INDUSTRY?
–I’m fascinated by the iterative nature of digital design— launching early, learning from real users, and refining constantly. At Google, the scale of impact is immense—and learning directly from users at that level feels truly magical. It’s inspiring to see real-world feedback shape a product and to grow alongside both the users and the design itself.
WHERE DO YOU SEE THE FUTURE OF YOUR PROFESSION?
–As AI reshapes tech, many designers are shifting toward it—which is exciting. But no matter how advanced the technology, intuitive and user-friendly experiences will remain central to great design. The real differentiator will still be UX, grounded in empathy and the ability to create meaningful value for users.
CALL FOR ENTRIES 19th EDITION
UNTIL MAY 1, 2026
CALL FOR EXCELLENCE
The GRANDS PRIX DU DESIGN is already gearing up for its 19th edition. This is the perfect opportunity for professionals, students, developers, entrepreneurs, and manufacturers to showcase projects that embody excellence, purpose, and boldness!
TIMELINE & FEES
UNTIL NOVEMBER 15, 2025 = DISCOUNTED RATE
UNTIL FEBRUARY 15, 2026 = REGULAR RATE
UNTIL MAY 1, 2026 = FINAL RATE
Submit your projects between August 1, 2025 and May 1, 2026 at gpda.design.
GET INSPIRED
Discover past entries from the GRANDS PRIX DU DESIGN on int.design using our dynamic visual search engine! From interior design and architecture to branding, landscape, and product—every project is featured, forming a true inspiration encyclopedia. A valuable resource for both professionals and design enthusiasts!
Designer, manufacturer, and installer of aluminum doors, windows, and curtain walls
RESIDENTIAL & COMMERCIAL
RECYCLABLE LEED CERTIFIED
Proudly Quebec-Based
INNOVATION NEVER SLEEPS
Discover our Harlequin Collection
Made In Q uébec
LOCAL ROOTS, LASTING IMPACT
At a time when local sourcing, manufacturing resilience, and material traceability are taking on renewed importance, Québec design stands tall with quiet confidence. From Sherbrooke to Rivière-du-Loup, from Montérégie to Beauce, companies across the province are shaping bold, expertly crafted products—distinctive, durable, and deeply rooted in Québec soil.
THE POWER OF LOCAL
Whether in furniture, flooring, windows and doors, millwork, lighting, or architectural materials, these local companies’ skills weave a rich and cohesive tapestry—at once human, functional, and forward-thinking.
THE VOICES BEHIND THE CRAFT
We set out to meet the women and men behind some of Québec’s most dynamic companies to talk about innovation, legacy, and local production—and above all, about a shared desire to elevate Québec through thoughtful, well-made design products that transform our spaces with meaning and intention.
LONG LIVE LOCAL DESIGN
Behind every piece conceived, there is a grounded idea, a masterful gesture, and a deep desire to build differently. Let’s step into these places where tomorrow’s design is already taking shape.
A SETTING TO MATCH THE VISION
On a sun-filled Monday afternoon, our photoshoot for this issue’s cover took place at the heart of the Science Complex on the MIL Campus—a space of knowledge shaped by visionary architecture. Located on the site of the former Outremont rail yard, this emblematic building—designed by the firms Menkès Shooner Dagenais LeTourneux, Lemay, and NFOE—embodies a philosophy in which design and architecture connect, elevate, and transform. Winner of several GRANDS PRIX DU DESIGN awards, the complex is home to the science departments of Université de Montréal—but also to ideas, conversations, and meaningful encounters.
DESIGNED TO BRING PEOPLE TOGETHER
It was in the Complex’s atrium—crafted to connect people, shaped by noble materials and inspiring volumes—that we brought together eighteen business leaders at the helm of fourteen companies firmly anchored in Québec. A luminous moment, set in a place that reflects the spirit of this feature: visionary, purposeful, and deeply human.
THROUGH BRÜGGER’S LENS
Photographer Stéphane Brügger took on the challenge of capturing these eighteen business personalities, right in the heart of a place he knows intimately. Based in Montreal, Brügger is no stranger to Quebec’s architecture and design community. Regularly called upon to photograph some of the province’s most remarkable interior and architectural projects, he has built a stellar reputation for his sensitivity, masterful use of light, and keen sense of composition.
CAPTURING THE SOUL
Brügger had already immortalized the MIL Science Complex—his architectural photographs of the space having earned accolades at the GRANDS PRIX DU DESIGN. Known for revealing the soul of the places he captures, he once again rose to the occasion, portraying not only the power of the setting, but also the character of these women and men shaping Quebec Inc.—today and for the future.
Sales Director & Partner Saint-Isidore, Québec, Canada
DENIS LAVOIE
Vice-President & General Manager
GUILHEM GOSSELIN
NATHAËL GOSSELIN
NAOMI CHASSÉ-JEAN
Co-Founding Partner Sherbrooke, Québec, Canada
MARC-ANTOINE BONNEVILLE
Co-Owner & Commercial Director Rivière-du-Loup, Québec, Canada
ÉRIC DAIGLE
Québec, Canada
PIERRE-LUC RACINE
General
Québec, Canada
STÉPHANE MASSICOTTE
CHRISTIAN MASSICOTTE
Co-Owner Montréal, Québec, Canada
ON THE COVER—from left to right, top to bottom: 4TH ROW Guilhem Gosselin, Pierre-Luc Racine, Bobby Correia, François St-Pierre, Denis Lavoie, 3RD ROW Frédéric Marier, Nathaël Gosselin, Frédéric Guérin, Daniel Pelletier, Éric Daigle, 2ND ROW Charles-Antoine Gauvreau, Naomi Chassé-Jean, Alexandra Champagne, Stéphane Massicotte, 1ST ROW Sylvain Labrecque, Carol-Anne Vachon, Christian Marcoux, Marc-Antoine Bonneville
CORREIA
Québec, Canada
ALEXANDRA CHAMPAGNE
Co-President—Champagne Group Shawinigan & Richelieu, Québec, Canada
FRÉDÉRIC MARIER
President - General Manager Lévis, Québec, Canada
CHARLES-ANTOINE GAUVREAU
General Manager
Québec, Canada
WHERE FLOORS HAVE HEARTBEATS
FRÉDÉRIC GUÉRIN Senior Vice President of Sales and Marketing
American Biltrite
american-biltrite.com/couvre_planchers
Head office / Sherbrooke
Parent company / Wellesley Hills, Massachusetts, United States
Year of foundation / 1908
Number of employees / 260 in Sherbrooke
Local production / 90% made in Québec
Materials and components of Québec origin / 10%
Territories served / Québec, Canada, United States, Europe
Sales by region / Québec 5%, rest of Canada 15%, United States 77%, Europe 3%
Made in Québec
Firmly established in Sherbrooke since 1913, American Biltrite, as it’s affectionately known—is a century-old company deeply embedded in Québec soil. Specializing in commercial flooring and industrial rubber products, it employs over 260 people in the Eastern Township region.
Blending manufacturing heritage with innovation and sustainability, American Biltrite Flooring is carving out a distinct path in North America’s industrial landscape. Frédéric Guérin and Jean-Pierre Benoit speak of a company proud to produce locally, with rigor and responsibility.
TEXAS GRANITE VINYL TILES in healthcare facility
CROSS-BORDER FOUNDATIONS
Founded in 1908 in Massachusetts, American Biltrite has been family-run by the Marcus family for over a hundred years. The Sherbrooke plant opened in 1913, launching a long-standing industrial presence. To this day, the company thrives thanks to a team dedicated to maintaining the highest standards.
TWO PILLARS, ONE STANDARD
Its strength lies in two complementary sectors: high-performance flooring for institutional, commercial, and educational environments, and industrial rubber products—gaskets, seals, and protective applications for mining, healthcare, and beyond. This synergy optimizes resources, processes, and equipment.
INVESTING IN GROWTH
With $25 million invested over the last five years—and more to come—American Biltrite is growing steadily.
“Our growth is driven by the agility of our production,” says Frédéric Guérin. “We develop our own equipment, adapt our methods, and respond to real-world needs.”
CERTIFICATIONS THAT MEAN SOMETHING
The first rubber plant in North America to obtain ISO 9001 certification, AB Canada is also ISO 14001 certified. But here, sustainability is more than just boxes checked.
“In ten years, our collective efforts have annually taken the equivalent of 275 cars off Estrie roads, cut energy usage equal to 37 homes, and saved the water of 11 Olympic-sized pools—just by optimizing our cooling system,” notes Jean-Pierre Benoit, General Manager and architect and instigator of the company’s environmental policy.
AMERICAN BILTRITE celebrates over 110 years in the Sherbrooke community.
American Biltrite Sherbrooke DISTRIBUTION CENTER
A FERTILE ECOSYSTEM
This momentum is strengthened by Sherbrooke’s unique local ecosystem. “We benefit from an impressive talent pool here: the Université de Sherbrooke, cutting-edge chemistry research, over twenty rubberrelated companies, and specialists across diverse segments. It’s an ideal environment for innovation,” adds Jean-Pierre Benoit. Public programs—including initiatives sustained by the City of Sherbrooke—also help drive innovation.
A STANDARD-SETTING INNOVATION
One recent breakthrough: a patented process to reclaim rubber scraps. Mechanically ground into fine powder without chemical agents, the material is reintegrated into new products—like mud flaps or industrial shields—without losing its physical properties and performance. A green innovation now being emulated by others.
SIGNATURE PRODUCTS, LOCAL DNA
Among American Biltrite proudest innovations are two standouts.
First: Texas Granite™, a premium vinyl tile (SVT) with a worn-in æsthetic and strong environmental profile. Wax-free, durable, and easy to maintain, it offers a compelling alternative to traditional VCT and has enjoyed success for over eight years.
Second: ABDEFENDER™, a flame-resistant coating developed over two years to meet the strictest North American standards. Designed for emergency exits and stairwells, it proves that safety and technical excellence can go hand in hand.
ROOTED AND CONNECTED
In 2018, Frédéric Guérin restructured the sales and marketing team for the rubber division, aligning everyone’s strengths to maximize field performance. The results speak for themselves. While American Biltrite primarily exports to the U.S. and English-speaking Canada, it also reaches Europe, Japan, Australia, and the Middle East. Its 23-person sales team is strategically placed to ensure a personal touch—even at a global scale.
AB PURE In 2021, American Biltrite launched a new collection featuring colors inspired by the Québec Flag.
ABDEFENDERMC TILES AND STAIR TREADS
LOYALTY AND PRIDE
The workplace culture here is defined by respect and humanity. “People don’t end up here by chance. There’s a real sense of belonging, a pride in being part of something larger than yourself,” says Frédéric Guérin.
This connection is nurtured through team lunches, picnics, and open email channels where everyone has a voice. “What struck me when I joined the company was the level of engagement of its workforce. You send out an email to all… and everyone answers. People care, and they want to contribute,” adds Guérin.
A CORNERSTONE OF ESTRIE’S INDUSTRY
Firmly rooted along the river shores in Sherbrooke for 112 years and counting, American Biltrite is a committed corporate citizen, with long-serving employees and ties to the Université de Sherbrooke and the local cultural scene. The plant’s close proximity to the city center is a daily testament to its integration—and to its intention to help the community thrive.
MOVING FORWARD, TOGETHER
American Biltrite has thrived for over a century because it has evolved without losing its soul. Even now, the energy is palpable, the vision is sharp, and the passion is real. Investing in quality, people, and the planet? It’s not just possible—it’s rewarding. Because here, to innovate, manufacture, and transform means doing it as a team: locally, sustainably, and with heart.
TEXAS GRANITE VINYL TILES in Healthcare Settings
Nearly $10 million have been invested in the SHERBROOKE PLANT since 1908.
WHEN QUÉBEC CROSSES BORDERS
DANIEL PELLETIER President
artopex.com
Head office and Parent company / Granby
Year of foundation / 1980
Number of employees / 800
Local production / 100% made in Québec
Materials and components of Québec origin / 71%
Territories served / Québec, Canada, United States
Sales by region / Québec 48%, rest of Canada 20%, United States 32%
In Granby, a 100% Québec-based family business thrives to the rhythm of wood, metal, and human connection. For 45 years, Artopex has been shaping work environments built to last—and to elevate well-being. Here, furniture doesn’t simply roll off an assembly line: it’s born from a fully integrated, local, and coherent chain—from concept to finish, including cutting, folding, and all the crafted details in between.
This deliberate vertical integration, fueled by a culture of ongoing innovation, enables the company to shine across Canada and the U.S.—all without losing touch with its roots. Because in Granby, Sherbrooke, Laval, and now SaintJérôme, to manufacture still means: to create, to build, and to pass on.
Back in the 1980s, Daniel Pelletier and his brothers dreamed of designing furniture locally, using homegrown resources and talent. Their company, initially named Pro-Meubles, grew steadily. In 1993, they acquired Artopex—a name that would soon become iconic.
GROWING STRONG
With a fierce commitment to local manufacturing, the original SME gradually evolved into a fully integrated group, able to meet North American demand. In 2025, Artopex celebrates its 45th anniversary and ranks among Canada’s Best Managed Companies—for the eighteenth consecutive year.
THE NEXT GENERATION
Today, Daniel’s sons, Francis and Martin Pelletier, have taken the reins. Francis leads sales and marketing
MUTE BOX AND COLLECTIONS LOUNGE
across Canada and the U.S., while Martin oversees manufacturing operations and finances. Their transition was seamless—spread over nearly a decade—shaped by hands-on experience, targeted training, and thoughtful mentoring. No pressure. Just the time it took to turn interest into commitment, and commitment into leadership.
INNOVATION WITH A HUMAN TOUCH
At Artopex, innovation doesn’t mean turning away from heritage—it means building on it. In April 2025, the company opened a new chapter by acquiring Trica, a specialist in high-end residential furniture. This alliance introduced a new vision: commercial furniture inspired by the warmth of home, crafted from noble materials like glass, porcelain, and textured metal.
WHEN HOME COMES TO THE OFFICE
The Le Cournoyer sofa by Trica—with its clean lines and modular design—is now a central piece in inspiring lounge spaces. “At Trica, we’ve always believed in furniture that is both lasting and inspiring,” says Trica President François Caron. “With Artopex, we share the same passion: showcasing local craftsmanship across the continent.”
TWO WORLDS, ONE PHILOSOPHY
That same philosophy resonates in Artopex’s collections, such as Take Off. Reimagined with a residential spirit, this line blends elegance, modularity, and purposeful design. With refined finishes, tactile textures, contemporary colours, and flexible layouts, every detail is designed to beautify the workspace—while encouraging focus, movement, and collaboration.
That’s where the synergy between Trica and Artopex truly shines: together, they’re shaping a new generation of furniture that blurs the lines between home and office, comfort and performance, æsthetics and function.
LE COURNOYER by Trica
SIX FINGERS, ONE HAND
Across its six integrated plants, Artopex is pushing automation even further—from glue-free laser assembly to robotics and smart logistics. “Innovation is constant here, but always in service of people,” Daniel Pelletier explains. Technology doesn’t replace craftsmanship—it enhances it.
A PROUDLY LOCAL MODEL
Unlike many competitors, Artopex maintains full control over its production. Everything is made in Québec, across six specialized factories —each expert in its own material: wood, metal, steel, hardware, and more. This vertical structure ensures fast, flexible, and precise delivery.
And the impact is real: 86% of every dollar invested in an Artopex piece stays in Québec—supporting wages, sourcing local materials, and reinvesting in the regional economy. In an era of international supply chains, this model stands out—and stands proud.
SPRINGING FROM REALITY
Design at Artopex is deeply grounded in real-world dialogue—forged through strong, daily relationships with designers, architects, and planners. Their insights directly shape product development, inspiring solutions tailored to today’s needs.
CONFIGURING COMFORT
That real life understanding inspires collections like IRIS, crafted for collaborative zones and waiting areas. With modular armless seating and a range of tables, it offers dynamic, comfortable, and human-centric layouts.
Next comes RZ4, a minimalist yet versatile reception furniture. Thanks to varied shapes and finishes, it adapts seamlessly—from understated counters to complex islands—without sacrificing elegance.
LOYAL TO THE PAST, FOCUSED ON THE FUTURE
At Artopex, innovation never comes at the expense of local roots. In fact, it’s by staying true to its territory, its people, and its values that the company continues to anticipate the needs of tomorrow.
AT THE TOP OF ITS GAME
In a world that moves faster every day, Artopex chooses a more demanding—but more lasting—path: one of local, integrated design, built to endure and carry Québec’s signature into major North American projects. “30% of our sales are in the U.S., 70% in Canada—but 100% of our production is made right here,” says Daniel Pelletier. “I’m proud of everything we’ve maintained and built over the years.” Here, design is something you craft—and something you pass on. Every piece of furniture bears the quiet mark of a family's legacy, proudly anchored to our home turf.
RECEPTION FURNITURE RZ4
MARTIN AND FRANCIS PELLETIER
SYLVAIN LABRECQUE General Manager & Partner
Carol-Anne Vachon Sales Director & Partner
A FUTURE CARVED IN WOOD
Marcoux Founder & President
Christian
Christian Marcoux cuisine and mobilier design
Made in Québec
SURINTENDANT PROJECT In collaboration with Construction Dureco
christianmarcoux.com
Head office and Parent company / Québec
Year of foundation / 2001
Number of employees / 65
Local production / 100% made in Québec
Materials and components of Québec origin / 75%
Territories served / Québec, rest of Canada, United States
Sales by region / Québec 90%, reste du Canada 5%, United States 5%
It all began in a backyard shed in Saint-Isidorede-Beauce—not with a business plan, but with bare hands, a love of wood, and a dream of crafting something true.
Two decades later, the name Christian Marcoux has become a signature. That modest atelier has grown into a 20,000 sq. ft. technological workshop, powered by 65 dedicated collaborators—each project still guided by the same quiet mission: to be singular, human, and built to last.
01, 02 RUISSEAU
PROJECT
Les Habiations DLC (general contractor)
MPA & NU DROM (architects)
03 BOTANISTE PROJECT Collaboration
Loca Design, Anne Carrier architecture & Construction Urbanext
GROWING ROOTS
Founded in 2001, the company grew from a business model rooted in discipline and passion. “You start by running a 5K and succeed. Then a 10K. And one day, you're running marathons— nothing can stop you!” says Christian Marcoux. “It’s the same here. Every project pushes us beyond what we thought possible. My greatest pride is seeing how far we’ve all come— together.”
In 2017, two talented partners joined the journey: Carol-Anne Vachon, now Sales and Design Director, and Sylvain Labrecque, a trained cabinetmaker turned General Manager. Together, they form a trio where ideas circulate freely and strengths are shared seamlessly.
WITH THE GRAIN
To support their growth, the factory expanded in 2020—and doubled again in 2022. At the same time, the addition of robotics and automation freed up time for finishing, precision, and quality.
“Technology makes us more agile, but it’s the human hand that makes the difference,” says Christian. “We’ve got a rare mix: a high-tech facility where craftsmanship still leads the way. Of the twenty people on the fabrication team, six are trained cabinetmakers—true artisans, passionate about the material and the craft.”
CUSTOM THAT LIVES
From kitchens to walk-ins, vanities to architectural ceilings everything here is custom-built. “Our projects aren’t picked off a shelf. They’re shaped by people’s lives,” explains CarolAnne. The new showroom, opened in 2024 across from the Québec City airport, reflects this vision: inspiring, thoughtful, and fully attentive.
WHEN WOOD REIGNS
In a kitchen project in Lévis, designed with Urbanex and Loca Design, white oak creates a soft, contemporary mood. “Oak and other noble wood essences were everywhere at the recent EuroCucina we visited in Milan. Wood simply transcends trends, with a natural warmth that appeals here and abroad,”
Carol-Anne notes. She also highlights broader trends like taupe tones, earthy colors, and pared-down simplicity—clear signs that global currents find strong local echoes.
REFINED COUNTRY LIVING
In the Surintendant project, custom woodwork fills the entire space—architectural doors, cabinets, bathroom vanities, transition furniture. “We leaned into a timeless refined farmhouse feel. It’s warm, but understated—and works across generations,” she adds.
A SPACE THAT FLOWS
In the Du Ruisseau home, the company’s integrated approach truly shines. Kitchen, bathroom, built-ins—every piece of woodwork is conceived as part of a harmonious, luminous whole. Here, wood meets stone, lines are pure, and the volumes are generous.
REFORESTING TOMORROW
Design is also about impact. The company uses waterbased varnishes, produces to order, and is committed to reforestation. “In the past six years, we’ve planted over 3,000 trees in Beauce,” Christian shares. “It’s our way of giving back, quite literally.” A gesture aligned with the values of clients, architects, and specifiers alike.
SHARED VISIONS AND GESTURES
“More and more, architects and designers want to work with responsible practices. That pushes us to go further in our materials, methods, and everyday choices,” adds Sylvain Labrecque. Symbolic actions—and meaningful ones—rooted in place.
DE LA PORTE PROJECT Collaboration with Atelier Filz
GRISONS PROJECT Collaboration with Ultralocal architectes & Sira Construction
“We regularly collaborate with designers, architects, and contractors throughout Québec—from Québec City to Montréal, and even as far as Chicoutimi,” says Sylvain. Another key strength lies in their meticulous attention to detail and finish: the ability to apply any custom colour to a finished piece opens the door to truly distinctive, high-end creations.
While residential projects remain at the heart of their work, the team also takes on ambitious commercial commissions—from clinics and restaurants to offices, architectural partitions, and custom feature walls.
LOCAL ROOTS, GLOBAL REACH
Even though most of their growth is driven by wordof-mouth, their craftsmanship travels—from Milan to the Cayman Islands, from Nova Scotia to Las Vegas.
They’re also developing a U.S. network, aiming to attract high-end distributors and retailers. “We want to be the manufacturing arm for brands that don’t have one. Everything is made right here in Beauce, by a skilled team. That’s our strength!” Christian emphasizes.
WOOD AS COMMON LANGUAGE
At Christian Marcoux cuisine et mobilier design, every project is a dialogue—between material, gesture, and human connection. “We want to multiply our revenue fivefold—without ever losing what makes us strong: precision, attentiveness, and the human touch,” he concludes.
Because in Saint-Isidore, they’re not chasing trends— they’re shaping a design that’s lasting, honest, and deeply rooted. Doing better, because they do it right. With pride, with vision—and with the quiet confidence that Québec craftsmanship has a rightful place on the world stage.
01 DU RUISSEAU PROJECT
Collaboration
General contractor: Les Habiations DLC Architect: MPA & NU DROM
Parent company / Acuity Inc, Atlanta, Georgia, United States
Year of foundation / 1987
Number of employees / 115
Local production / 100% made in Québec
Materials and components of Québec origin / 40%
Territories served / Québec, Canada, United States
Sales by region / Canada 20%, United States 80%
At Eureka, lighting is never just a detail. It’s a language—a way of revealing space, amplifying a gesture, inhabiting an experience. Founded in Montréal in 1987 and acquired by U.S.-based Acuity Inc. in 2019, the company has become a luminous bridge between Quebec’s design culture and North America’s manufacturing power.
Eureka
Made in Québec
At the helm for the past five years, Denis Lavoie—the only Quebecer ever to serve as president of New York’s Illuminating Engineering Society (IES)—is dedicated to preserving Eureka’s local DNA while driving the company toward the future. “In the world of lighting, they say once you’re in... you never leave. It’s an industry full of passionate people. Like fireflies drawn to the light!”
DESIGN DNA
At Eureka, everything begins with an idea—but more importantly, with an intention: to create luminaires that are integral to the space, reshaping its sensory rhythm. The fifteen-member in-house design team works from Montréal, at the crossroads of Europe and North America—a fertile ecosystem of design schools, cosmopolitan culture, and UNESCO City of Design status.
“We don’t follow trends. We lead them, shape them, illuminate them,” sums up Denis Lavoie.
STRATEGIC RADIANCE
Joining Acuity Inc. in 2019 allowed Eureka to scale up… without losing its soul. Based in Atlanta, the North American group relies on a decentralized model: Eureka retains full creative autonomy while tapping into a powerful distribution network.
Today, 80% of Eureka’s sales are made in the United States—from New York to L.A. via the Midwest. In this ecosystem, Montréal remains a beacon city, always ahead of the curve when it comes to innovation.
JUNCTION
Marc Pearce
Edouard Lauriault
Valérie B. Plamondon
Chantal Vertefeuille-Lareau
Clement Heyraud
Louis Thomas-Bérubé
Mathieu Desjardins
Julie Tremblay
Martin Gonzalez Godoy
Stéphanie Paquet
Etienne Vernier
William B. Tully
Niccolo Ghirotto-Kallos
A LIVING LABORATORY
Each luminaire at Eureka is born through close collaboration between design, engineering, procurement, and production. Ideas flow from the creative studio to the shop floor. Designers are hands-on—testing, refining, and working alongside technicians. Sometimes, they even invent tools to help their colleagues. The result? Signature collections, customizable and built to converse with architecture.
AGILITY AT THE LOCAL LEVEL
“Manufacturing in Montréal is a deliberate choice for agility,” says Denis. The luminaires are assembled in a bright, open facility on de Liège Street. Workstations are arranged into cells, each with a team leader. This flexibility, paired with continuous improvement, enables fast and responsive production.
EUREKA TEAM from left to right
MARTIN GONZALEZ GODOY AND ANTHONY CARRE
“In the past five years, we’ve brought more than half of our supply chain back home. Every new product is designed using local, recyclable, easy-to-process materials. Producing here is faster, smarter, and more sustainable.”
GEOMETRIC LIGHT
Among these collections, Tangram brilliantly illustrates the brand’s mastery of luminous geometry. Its Essential version stands out with wide PETG straps—available in several colors— supporting an 8-inch cylindrical light source. Two optics are offered: a prismatic diffuser or a 3D-printed honeycomb louver.
From the same family, no fewer than four Tangram variations received accolades at the prestigious 2023 Red Dot Awards—including the Tangram Trace, named Best of the Best, the competition’s highest distinction.
TANGRAM COLLECTION
SCOUT’S EYE
As per the Scout line, it explores the cylindrical form in its purest expression. With no visible joints, this clean-lined fixture comes in two diameters, three lengths, and sixteen tube colors. Wall-mounted, ceiling-mounted, or suspended, it suits a wide range of architectural contexts.
AT THE JUNCTION OF DREAMS
In a different register, Junction brings large-scale pendant lighting to a new level. Suspended at the intersection of form and function, the luminaire features a central mast from which up to five adjustable arms radiate. Conceived more as a platform than a static object, it allows specifiers to create custom lighting installations—part graphic chandelier, part geometric constellation.
WHERE IDEAS BLOOM
Because a light fixture can also capture the tenderness of a gesture or the poetry of spring, some ideas begin with a simple shared spark. Designed as a softer counterpoint to Junction’s minimalist rigor, Tulip brings a poetic, organic touch to interiors. Its delicate silhouette is inspired by the tulip itself—its grace, its colors, its gentle unfolding to light up a space. In fact, the creative process began just as the first tulips were poking through the ground, driven by a desire to infuse floral sensitivity into the world of architectural lighting. Charmed by the flower’s softness and luminosity, the team imagined three diffusers inspired by its life cycle: seed, bud, and bloom.
With a July 2025 launch in sight, Tulip expresses a longing to reconnect with nature—through a language that is contemporary, yet delicately refined.
SIGNATURE TULIP Bloom diffusers
SCOUT with Scout Accessories.
From left to right: Scout Orb in Champagne, Scout Bell in Apricot Yellow, Scout Flare in Dynamic Blue.
INNOVATION AS REFLEX
Within this creative porthole, R&D is everything. Each year, eight to ten new products come to life—a steady pace that reflects the team’s drive and precision. These creations find their place in the real world, like the 1,400 Celeste heads soon to illuminate the public library in Omaha—transforming a bright idea into a work of art.
“Our luminaires don’t just light spaces,” says Denis Lavoie. “They give those spaces a voice.”
SUSTAINABLE LIGHT, LIVING IDEAS
At Eureka, materials are never neutral. Local aluminum, acoustic felt made of 50% recycled felt (by weight)—every component is chosen for its ability to last… and be reborn.
Because here, products are designed to be disassembled, rethought, and recycled. It’s a commitment aligned with the company’s mission: “to empower lighting designers to reimagine space and bring their ideas to life”—brilliantly, we might add.
01 TANGRAM TRACE AGAIN 02 CELESTE
Shelly Harrison Photography
ghauz.ca
Head office/ Sherbrooke
Year of foundation/ 2024
Number of employees / 5
Local production / 100 % made in Québec
Materials and components of Québec origin / 70%
Territories served / Québec, rest of Canada
Sales by region / Québec 100%
In Sherbrooke, Ghauz designs high-end sofas at the intersection of craftsmanship and contemporary design—born from a deep knowledge of upholstery, where each piece becomes a vehicle for storytelling. Stories of Québec, of materials, and of the hands that shape them.
Ghauz Canapé
Made in Québec
Co-founded by brothers Guilhem and Nathaël Gosselin, along with Nathaël’s partner Naomi Chassé, Ghauz represents a new wave of artisanship that aims not to do more, but to do better. Each piece is crafted locally, with almost philosophical precision—perhaps unsurprising, given that Guilhem first studied literature and philosophy before stepping into the world of furniture making.
Guilhem recalls joining the venture with a clear intent: to create their own in-house collections. The goal? To build by hand, with care—and to affirm a vision of Québec design that is sustainable, rooted, and cohesive. It’s not always a straight path, but rather a weaving of complementary strengths, reimagined legacies, and a shared pride in doing things right.
This is how Ghauz was born—a way of seeing the sofa as a space for transmission. Each collection opens a dialogue between the memory of a family craft and the modernity of intentional design. Clean lines, lasting textures, noble woods, and North American plywood: materials are chosen with care, always in pursuit of longevity and timeless elegance.
LIKE A NATIVE LANGUAGE
In the Gosselin family, design is passed down like a mother tongue. Nathaël, the elder brother—hands-on, meticulous, and trained as an aircraft technician—was the first to take over their father’s upholstery workshop, a place of shaping, refining, and finishing by hand.
Alongside him, Naomi Chassé learned the trade and developed her own expertise in stitching, bringing back the nobility of every seam. The Gosselin father, a quiet but essential figure, continues to oversee the transmission of knowledge—passed on not only through words, but through gestures.
Then came Guilhem, the youngest, with a singular path: a poet, a thinker, drawn as much to precise phrasing as to clean lines. Together, they elevated Rembourrage Gosselin to a benchmark in the Eastern Townships—at a time when many upholstery workshops were shutting their doors, taking irreplaceable know-how with them. Their journey stands as a tribute to craft—and its longevity.
A GROUNDED VISION
FROM SKETCH TO DELIVERY
With a five-person team, Ghauz embraces small-scale production. This deliberate choice keeps them hands-on at every step—from stitching to comfort, from sketch to delivery. In a market overrun with standardization, the company forges a different path: one of craftsmanship, and of quiet pride.
AN ECOSYSTEM BUILT ON TRUST
Here, creativity emerges from a deeply local ecosystem—one woven from family ties, friendships, and a shared design ethos. Celebrating local talent, materials, and know-how has become the cornerstone of every piece they make.
The studio works closely with Marc-Antoine Chrétien, architect and partner at Matière Première Architecture in Magog, to design the collections, and collaborates with Atelier Vaste in Montréal for the cabinetry work. The result? Furniture that fits seamlessly into both private interiors and architectural settings—delivered with care throughout Québec and Canada.
“Marc-Antoine Chrétien is a longtime friend—the best friend of my brother’s best friend, Dominic Chaussé, who runs Nu Drom construction. Friends, friends of friends… it all became this tight-knit creative circle. We didn’t recruit each other, we found each other—around a shared desire to create custom pieces, thoughtfully designed and proudly made here in the Eastern Townships.”
Developed in collaboration with Matière Première Architecture, the Nübes and Masiv collections reflect a common goal: blending contemporary lines with artisanal discipline. Each model is the product of a dialogue between spatial design and furniture making— between formal thought and local know-how.
Both lines are anchored by the use of white oak, worked with precision and sensitivity. It has become a hallmark of the Ghauz aesthetic—a noble material that runs through every piece like a backbone.
COMING SOON…
Looking ahead to the upcoming fall season, Ghauz is preparing a third collection, again developed with Matière Première Architecture. More pared-down and understated, it will highlight the natural elegance of wood through clean, minimal lines. A series designed to transcend styles and integrate seamlessly into a wide variety of environments—always with the same dedication to quality and coherence.
Here, growth isn’t a race—it’s a natural extension of things done well. Though demand now reaches beyond the Eastern Townships, their ambitions remain grounded.
“Our father is proud to see how far the little workshop he started has come. For now, we’re focusing on building a strong, recognized presence across Québec and Canada before growing too fast and losing the very foundation of our human-scale production.”
THE DURABILITY MINDSET
At Ghauz, durability isn’t a buzzword—it’s the foundation. From hardwood to North American plywood, from robust textiles to local manufacturing, every decision reflects a commitment to doing things better—and doing them here, with Québec talent and resources.
Training the next generation, ensuring material traceability, and crafting long-lasting products—it’s all part of a vision deeply rooted in family heritage, and resolutely turned towards the future.
01, 02 NÜBES COLLECTION
PIERRE-LUC RACINE General Manager
WHERE THE STREET BEARS THEIR NAME
jaymar.co
Head office and Parent company / Terrebonne
Year of foundation / 1956
Number of employees / 150
Local
Stéphane Brügger
Made in Québec
In Terrebonne, there’s a street called Jaymar. A quiet artery in the industrial district—named after the company because the factory was there long before anything else. That says a lot about how deeply this furniture maker is woven into the landscape, both literally and figuratively.
Since 1956, Jaymar has been crafting high-end residential furniture built on local know-how, integrated production, and exceptional adaptability. Sofas, sectionals, loveseats, upholstered beds—every piece strikes a balance between comfort, durability, and custom design. And behind this refined furniture are more than 150 people who oversee every detail—from padding to stitching—with a level of mastery passed down through generations. DISCOVERY ROTATING ARMCHAIR
A HAND-STITCHED CULTURE
At Jaymar, there’s no barrier between those who design and those who build. Everyone works under the same roof—and often shares the same lunch table. “We foster a true spirit of collaboration,” says Pierre-Luc Racine, General Manager. “Ideas circulate freely—it’s a collective ‘we’ moving in the same direction.”
A LIVING CRAFT
That cohesion is rooted in the exceptional longevity of many employees—some of whom have been with the company for 30, 40, even 50 years. They carry the living memory of the business, passed down through gestures, conversation, and skilled hands. It’s an artisanal expertise that’s constantly evolving, nurtured by both tradition and innovation.
A BRIEF HISTORY LESSON
Jaymar was founded by George Reinitz in a yet-to-be-industrialized Québec. A visionary, he established the factory in Terrebonne well before the neighborhood took shape—so much so that the street that now houses it bears the company’s name.
In 2013, the Québec flagship was acquired by Daniel Walker, who brought new energy to the business while staying true to its mission and unwavering commitment to quality.
A NEW CHAPTER IN LEADERSHIP
At the helm since 2023, Pierre-Luc Racine draws on his CPA expertise and financial background—notably with Bombardier. “I quickly recognized the unique human and manufacturing potential of this company.” Close to both his team and the market, he ensures that every piece of furniture embodies the essence of Jaymar: lasting comfort, designed here—for here.
CUSTOMIZATION AS A SIGNATURE
Here, customization goes well beyond fabric and color choices. With more than 200 fabrics, 50 leathers, and countless configuration options—from motorized mechanisms and adjustable headrests to tailored comfort and integrated accessories—Jaymar empowers each client to create a piece that reflects their personal lifestyle.
A SPACE TO SHAPE COMFORT
In Jaymar’s 10,000-square-foot showroom, customers, retailers, and designers are invited to explore models, test seat depths, discuss modifications, or even propose off-catalog coverings.
Thanks to a flexible production line, the company can swiftly adapt—whether it's fulfilling a classic residential order or tackling a highly specific request, like a custom-sized sofa.
A TOOLBOX FOR THE TRADE
In 2025, Jaymar will launch its new Trade program , designed specifically for interior designers. Envisioned as a collaboration tool, the program offers exclusive discounts, a professional kit (samples, catalogs), factory tours, and meetings with the teams. The goal: to strengthen the bond between local manufacturing and Québec design.
A WELL-ESTABLISHED NETWORK
With more than 300 points of sale, Jaymar has a strong retail network across Quebec, Canada, and the United States. Its collections are carried by leading partners such as JC Perreault, Germain Larivière, Tanguay, and Setlakwe, as well as numerous specialty boutiques across North America. Exclusive lines—such as the Summit X collection available only at JC Perreault in Quebec— speak to the brand’s premium positioning and local roots.
SUMMITX COLLECTION The Mont Blanc in premium leather
MORE THAN LOCAL SOURCING
Jaymar’s factory houses 100% of its design and production under one roof—and the company is firmly committed to a close-knit, locally anchored supply ecosystem. The vast majority of its suppliers and partners are located within 20 kilometers of Terrebonne. Solid wood, foam, fabrics, metal components—each material is carefully selected for quality, traceability, and sustainable collaboration.
With the Designed and Made in Québec certification from the LPDQ, Jaymar enjoys remarkable agility in the face of market fluctuations, shorter lead times, and greater resilience in an everchanging economic climate.
EXCELLENCE WITH PRECISION
Even the 35% of materials sourced from abroad—such as select Italian leathers or U.S.-made mechanisms—are chosen for their excellence, then seamlessly integrated into the manufacturing process.
LOOKING AHEAD
As the market shifts—with younger buyers, evolving expectations, and the rise of online shopping—Jaymar is betting on agility. Its facility is equipped to respond rapidly to demand while developing new collections: compact, multifunctional furniture, generously
01 MELISSA
cushioned minimalist seating, and ultra-luxury pieces designed for exceptional clients.
THE FIRST EMBRACE OF COMFORT
Created to accompany the earliest stages of life, the Jaymar BB collection combines originality, quality, and long-term durability. It now includes reclining rockers designed to deliver an unmatched level of comfort. Whether for nursing, storytime, or quiet bonding, these chairs offer optimal support and reassuring safety—helping parents savor every moment in a cocoon of well-being.
A NEW WAY TO LIVE
More than just a Quebec furniture maker, Jaymar positions itself as a lifestyle partner—one that evolves alongside the way people live. Because tomorrow, as always, true luxury will be about feeling good at home.
FRANÇOIS-XAVIER
BONNEVILLE
Co-Owner & General Manager
MARC-ANTOINE
BONNEVILLE
Co-Owner & Commercial Director
THE INDUSTRIAL WORKSHOP
lepagemillwork.com
Head office and parent company / Rivière-du-Loup
Year of foundation / 1947
Number of employees / 490
Local production / 100% made in Québec
Materials and components of Québec origin / variable Territories served / Québec, Ontario, United States
Lepage Millwork
Made in Québec
Sales by region / Québec 20%, Ontario 30%, United States 50%
In the heart of the Bas-du-Fleuve region, Lepage Millwork crafts wooden and wood-aluminum windows and doors that cross borders—and generations. Rooted in woodsmanship since 1947, this family-owned company has emerged as a North American leader in the high-end market, all while nurturing a deeply human culture.
Since Guy Bonneville took over in 2002, and through the transition to his sons François-Xavier and Marc-Antoine, Lepage has continued to innovate with wood—the noble material that sets it apart in an industry still dominated by PVC.
BACK TO ITS CORE
“In 2025, we left PVC behind to focus on what truly drives us: wood . We were at a crossroads,” recalls Marc-Antoine Bonneville. “Keeping up with the PVC market would have required massive investments. Instead, we chose to double down on our DNA: durability, warmth, material integrity.”
A JOURNEY IN TIME
Founded in 1947, the company entered a new era in 2001 when manufacturing entrepreneur Guy Bonneville acquired it, driving growth from 50 to nearly 400 employees.
In 2016, a trip shared by his sons aligned their visions. A year later, François-Xavier, a mechanical engineer with a master’s in business, and Marc-Antoine, a graduate in accounting, started to step in.
HAND IN HAND
The transition was deliberate, thoughtful… and honest: “We gave ourselves permission to dream. Together, we built the structure to make it happen— with an outside consultant, a clear timeline, and the will to speak openly. We named the challenges and welcomed differing views.”
That openness paid off: in 2023, the brothers earned an award for Next-Gen Entrepreneurship. Today, François-Xavier leads as CEO, and Marc-Antoine oversees commercial strategy. Guy, now retired, stays close to the forest—through the family’s maple grove, a nice wink to their roots… pun intended.
WHERE THE RIVER RUNS THROUGH IT
Headquartered in Rivière-du-Loup with a satellite office in Palmer, Massachusetts, Lepage serves a North American clientele, from Québec to California. Here, architectural beauty meets technical excellence: bold shapes, wood’s warmth, inside-out design, premium species like mahogany and eucalyptus, and custom-developed stains and finishes.
LOOKING ON THE HORIZON
European-style casements, operable formats and oversized sliders all reflect a desire to blend character with performance.
In fact, Lepage Millwork recently launched a new multi-panel sliding door that redefines indooroutdoor flow. With seamless movement and stri-
king architectural design, this customizable model creates expansive openings without compromising performance or æsthetics—a clear marker of the company’s bespoke design leadership.
THE INDUSTRIAL WORKSHOP
Here, expertise shines at every step of a fully vertically integrated production process—from raw wood to finished products. A dedicated team of colourists develops custom shades, while all glass units (thermal, tempered, laminated) are mainly made in-house. The company is also currently repurposing its former PVC plant to meet the growing demand for oversized glass panels. This balance of deep customization, attention to detail, and robust manufacturing capacity allows Lepage Millwork to handle major architectural projects without ever losing its client proximity.
And behind every product, the company evolves. Investments in automation and rethinking high-value workstations are driven by a clear mission: to elevate the human touch.
GROWING THE FUTURE, SHAPING THE PRESENT
Employee loyalty is a core strength here. Some have over 50 years of service. This living memory is now passed on through the Lepage Academy, which trains new hires in essential skills—from cabinetry to reading plans.
A vital initiative, as a large generational shift looms: “About 200 of our core team members will retire in the next 5 to 10 years. So yes, we’ve invested in automation—but also in training. For us, technology and craftsmanship go hand in hand.”
THE GAULS VS. THE ROMANS
Their approach stands out in a market dominated by U.S. giants: “We’ve got the production volume of the big players, but the customization of the small ones. It’s a paradoxical balance… but one we embrace.”
If Rivière-du-Loup is sometimes seen as far from the big centres, Marc-Antoine Bonneville sees it differently—as a strength. A fertile ground where generations of craftsmanship take root.
THE LEPAGE RECIPE
“We have incredible talent in our factories and our offices. A rich manufacturing heritage that values precision and versatility. A strong distribution network. And above all, lasting relationships built on mutual trust.”
This grounded culture, paired with a global mindset, creates a rare formula: a company that blends industrial performance with genuine, tailored craftsmanship.
“Sure, 70% of our clientele is English-speaking—but our way of doing things speaks for itself. It attracts, it retains. And it comes from here.”
PRIDE BEYOND BORDERS
To shine far beyond the shores of the St. Lawrence—while staying rooted in local identity—that’s the pride of Lepage Millwork.
“We’re proud of what we’re building together. Everyone carries a part of the story. Every day, it’s a family that moves forward—united.”
Territories served / Québec, rest of Canada, United States
Sales by region / Québec 95 %, United States 5 %
For over 30 years, Loeven Morcel has embodied the precision and boldness of custom furniture-making in Montréal. Under the close-knit leadership of Éric Daigle, president and majority shareholder since 2023, and Dirk Lindert, coowner and workshop foreman since 2010, the company continues to elevate architectural cabinetry to an applied art form—driven by a passion for wood, exceptional design, and 100% local manufacturing.
Loeven Morcel
Made in Québec
It all took shape inside a 17,000 sq. ft. workshop in the heart of Rosemont. Founded in 1991 by Alain Morcel and Frédéric Loeven, the company built a rock-solid reputation in high-end custom furniture. A reputation that, according to Éric Daigle, is built on a simple promise: to take custom work beyond the limits of the competition.
“Everything is done in-house,” Daigle emphasizes. “Design, production, finishing, installation. Nothing leaves the shop— and that changes everything.” There’s no outsourcing here: each piece is designed, cut, assembled, and refined according to the highest standards, ensuring consistency from start to finish. This rare model of operation guarantees total quality control—and attracts some of the most ambitious projects, like the stunning Nordelec condo by MXMA, where woodworking plays a starring role.
A MANIFESTO PROJECT
Among Loeven Morcel’s flagship creations, the Nordelec condominium project stands out for transforming a standard unit into a true urban chalet. Designed with MXMA Architecture & Design, the project united two apartments into a single warm, sophisticated space.
The use of smoked eucalyptus and custom woodwork created an elegant, enveloping atmosphere, showcasing the workshop’s ability to combine noble materials with contemporary vision.
“We really pushed our limits on this one,” says Daigle. “The woodworking wasn’t decorative—it was very the foundation of the concept. Every wood tone had a role in setting the mood.”
DESIGNING WITH INTENTION
Here, wood tells the story. Cabinetry becomes a narrative structure: it guides the light, shapes perspective, and sets the rhythm of a space. From integrated bookshelves to wall panels and kitchen cabinetry, every element is conceived as part of a unified whole. The choice of smoked eucalyptus, with its deep hues and fine grain, adds quiet elegance—a Loeven Morcel hallmark.
MADE IN MONTRÉAL
From walnut to cherry, and especially smoked eucalyptus, noble woods are the stars of the workshop—yet white oak tends to steal the spotlight. Widely loved by architects, designers, and clients for its warm neutrality and versatility, it pairs beautifully with colored lacquers and refined finishes. Every element is designed and made in Montréal with artisanal care and industrial precision.
TRAINING THE NEXT GENERATION
Passing on the craft is a mission in itself at Loeven Morcel, where hands-on experience is key. “We’re lucky to be next door to the École du meuble de Montréal,” says Daigle. “Every year, we host visiting students—and often it leads to internships and eventually hiring. Nothing beats learning in the field.”
01, 02 ROTONDE PROJECT Scope: custom furniture in white oak and smoked eucalyptus for a condominium on Île-des-Sœurs. Designed by Vincent Boyer (2021).
03, 04 NORDELEC PROJECT Scope: bring the architects’ vision to life with bespoke furniture transforming two residential units into an urban chalet. Designed by MXMA Architecture & Design (2024).
A CRAFTMAN’S LEGACY
At Loeven Morcel, the art of woodworking is handed down. Éric Daigle is living proof: trained as an urban planner, he discovered the craft “through passion, through his hands,” starting in his family garage. He eventually rented a corner of Alain Morcel’s shop, became a partner in 1999, and is now majority shareholder. Today, with VP Dirk Lindert, he leads a team of 20 versatile artisans—all grounded in the house’s methods and committed to excellence.
OH! A SURPRISE
In 2020, the company launched OH Mobilier—a minimalist furniture line entirely conceived and crafted in Montréal. Nightstands, desks, dressers: each piece is fully customizable and designed to blend accessibility, rigor, and artisanal quality.
Ready to launch in March 2020, the line was put on hold by the pandemic and a two-year wave of renovations that filled the workshop. Now, OH Mobilier is relaunching with prototypes ready, images in circulation, and an online store live—still anchored in its core values: local sourcing, inhouse production, and local craftsmanship.
FROM OUR FORESTS TO OUR HOMES
At Loeven Morcel, every board has a story, every project a unique signature. Far from fleeting trends, the workshop has carved out a quiet, steady path over the past three decades—guided by sure hands, deep convictions, and an unwavering connection to Montréal. In this world of textures and materials, wood doesn’t lie—and neither does the company’s reputation.
REACHING OUT, ROOTING IN
“Our reputation has preceded us for 30 years now,” says Éric Daigle. “We’re proud to work hand in hand with Québec’s community of designers and architects—and we want to dig even deeper roots here, by playing a more active role in this dynamic, thriving local industry.”
And as long as wood continues to speak to the hands—this wood from our forests, a living memory of the land—Loeven Morcel will continue to echo its stories.
01, 02 NORTHCREST PROJECT
Scope: design and build a kitchen, wall paneling, and built in furniture for a residence in Montréal, using white oak and white lacquer. Designed by Cathlin Stothers (2023).
ATELIER 04, 05 OH COLLECTION
FRANÇOIS ST-PIERRE Co-owner & Vice President of Sales
WHERE DREAMS ARE HANDCRAFTED
literielaurier.com
Head office nd parent company / Montréal
Year of foundation / 1938
Number of employees / 45
Local production / 100 % made in Québec
Materials and components of Québec origin / 65 %
Territories served / Québec, rest of Canada, United States
Literie Laurier
Made in Québec
Sales by region / Québec 60 %, rest of Canada 15 %, United States 25 %
Since 1938, Literie Laurier has been crafting custom-made mattresses and box springs with artisanal rigor, rooted in Québec. Led by François St-Pierre, grandson of the founder, and his partner Denis Benoit, the company embodies a rare continuity—deeply grounded yet future-focused.
From classic models to the very first adjustable mattress without a mechanical base, each product is handmade in the Anjou factory, serving commercial projects in collaboration with architects and designers, boutique hotels, prestigious private labels, and through its exclusive collection, Harlequin™.
HARLEQUIN™ Virtuose COLLECTION
A HAND-SEWN STORY
It all began in 1938, in the Rosemont home of Roméo Gauthier and his wife, where the first mattresses were made by hand. In the mid-1940s, production moved to a commercial facility. Lucien St-Pierre joined and took over the business in the early 1950s. His son Claude came on board in 1956 to further develop operations.
A LEGACY SHARED
In the 1990s, François St-Pierre joined the family business, bringing a background in business administration and a vision for its evolution. Around the same time, Denis Benoit was working at Matelas Martin, his uncle’s company. The chemistry was immediate—a shared vision, complementary strengths. In 1995, they partnered, acquired both businesses, merged operations, and set the stage for a dynamic synergy woven in artisanal flexibility, growth, and excellence.
FULL SAIL AHEAD
In April 2023, the company doubled its production capacity with a new factory—a transformative project backed by major investments in equipment and automation. “Even after all these years, we still have the drive to push ourselves,” says François St-Pierre. “It’s not about age—it’s about passion.”
THE LUXURY OF MADE-TO-MEASURE
Round mattresses, special sizes, private-label models for furniture retailers, university residences, or hotel chains: Literie Laurier is
synonymous with flexibility. Every mattress is made by hand, with no outsourcing. “It takes eighteen pairs of hands to make one single mattress,” notes Marie-Josée Tessier (Account Manager). Seamstresses, packagers, cutters, assemblers—about 40 employees oversee every step.
On the material side, the company favors comfort and sustainability: wool, cotton, natural latex, horsehair, silk, organic cotton. Several models are certified eco-friendly, and concrete recycling initiatives are in place for offcuts and packaging.
AN INTIMATE RELATIONSHIP
Whether speaking with a hotelier, furniture retailer, designer, or architect on a commercial project, François, Denis, and their team always lead with the same instinct: listening. “We build for people. You have to understand their reality, their needs, their usage.”
BEHIND THE FINEST LABELS
Though often behind the scenes, Literie Laurier’s imprint is visible in some of the most beautiful projects here and abroad. For over a decade, the company has been the official supplier of Groupe Germain, custom-making the mattresses for all its hotels, complete with embroidered branding.
“We’re in more than 40 boutique hotel projects—Birks, Mount Stephen, Le Capitole in Québec City, Hôtel St-Paul… Always with an eye toward lasting comfort,” adds Marie-Josée.
COLLECTION HARLEQUIN™ Pierrot
Meubles Re-No, Mobilier Avant-Scène, Home Société (Must, Maison Corbeil, Jardin de Ville), Galerie du Meuble, Maison Lipari… all these Québec brands also rely on Literie Laurier’s craftsmanship, often through white-label partnerships. A quiet presence — but a winning one.
COMFORT IN MOTION
Driven by that same demand for quality, the Harlequin™ adjustable mattress collection was born in 2007, through an exclusive partnership with a European inventor. It became the only North American brand to offer an adjustable mattress with built-in technology—no mechanical base, no visible components. Patented worldwide, this innovation allows any bed, even the most design-forward, to become an adjustable rest space.
A SPARK OF INSPIRATION
It was during a 2015 conversation with Tony Masecchia, founder of AD Waters (see article page 14), that François first glimpsed the full potential of U.S. expansion. For two hours—glasses off—he listened, captivated, as the seasoned entrepreneur laid out his vision. “When I walked out,” he recalls, “I followed his plan to the letter.”
BEYOND BORDERS
Launched the same year, Harlequin™ became the company’s growth engine in the U.S. market. Now sold in 23 states and supported by a sales team of nine manufacturers’ reps, the brand spans the East Coast, the Midwest, and the West Coast—from Maine to Florida, Michigan to New Mexico, San Diego to Washington.
Unlike traditional sales networks, Harlequin™ isn’t sold through mattress retailers but through mid-to-high-end contemporary furniture stores: Copenhagen Living (Arizona, Texas), Clive Daniel (Naples, Sarasota), Sklar Furnishings (Boca Raton), DDC Design (New York), Lawrance Furniture (San Diego), Chuck Wells (Denver)… all championing this Québec-born technology designed for sleep that adapts to modern life.
A CULTURE OF ADAPTATION
Today, Literie Laurier blends craftsmanship, agility, and ambition. Through Harlequin™, it shines across North America. With its whitelabel collections, it delivers comfort to prestigious homes and hotels.
And with its roots firmly planted, it stays true to the essentials: tailor-made, sustainable, authentic.
“Our DNA is the passion for doing things right,” says François St-Pierre. “And honestly… we all sleep better on that.”
mreno.com
Head office and parent company / Montréal
Year of foundation / 1961
Number of employees / 25
Local production / 80% made in Québec
Materials and components of Québec origin / 75%
Territories served / Québec, rest of Canada, United States
Meubles RE-NO
Made in Québec
Sales by region / Québec 80%, rest of Canada 10%, United States 10%
Behind a discreet façade in the Hochelaga district lies an unsuspected world—a world of mastered curves, noble textures, and creations shaped with both eye and hand. Since 1961, Meubles RE-NO has brought interiors to life with remarkable consistency: a commitment to beauty, craftsmanship, and durability.
Each piece from the workshop is built the old-fashioned way—on solid maple foundations, a hallmark of stability and time-honoured craftsmanship. Yet far from clinging to tradition, the company has, for over 40 years, built close relationships with the leading European names in design: Fiam Italia, Flou, Kartell, and many others—and with Québec’s most respected local brands, from Trica to Huppé and Mobican. A vibrant conversation between local materials and international lines, making Meubles RE-NO a singular destination — where heritage meets innovation.
CHRISTIAN MASSICOTTE Co-owner
STÉPHANE MASSICOTTE Co-owner
THE LAST OF THE MOHICANS
A STORY OF BROTHERHOOD
It all began in Sainte-Mélanie, in the Joliette region, where René, the eldest of four brothers, and their father Noël, a cabinetmaker, combined their first names and their craft to found RE-NO. They started by making church pews and school desks.
Three generations later, Noël’s grandsons, Stéphane and Christian Massicotte, now lead the company, which has become a true design reference. Their strength? A sibling bond and a shared vision: to honor their roots while embracing the future.
A FAMILY ON A MISSION
Stéphane quite literally grew up in the workshop. “I swept the floors, learned by watching everything being done. At 18, my father suggested I step out from backstage and into the showroom—and I loved it.” Not surprising, given how much Stéphane thrives on human connection.
Christian took a different path, studying business and completing an MBA before returning to the family business, enriched by experience in other industries.
“Christian tends to manage the showroom more, and I handle the workshop. But everything flows smoothly. We’re one big family with our team—and that’s what I’m proudest of.”
AN ENDURING WORKSHOP
At the Charlemagne Avenue workshop, time has woven a tightly knit team. Some have worked here for 30, 40, even 45 years.
“We know their families, their kids, their stories. They embody our values—contributing in real ways to the wellbeing of our people,” says Stéphane. Here, knowledge is passed down between seamstresses, upholsterers, and woodworkers. Expertise flows through gestures, glances, and silences. Nearly half of the showroom’s furniture is handcrafted on site, in a carefully preserved spirit of craftsmanship.
WOOD, HARD & REAL
“In 64 years, our way of building hasn’t changed. We refine the details, adjust the finishes… but the quality remains the same,” says in-house designer Angéline Lapointe, who spearheaded the signature collection co-created by Meubles RE-NO and Angéline Studio.
Their signature material? Solid maple. The discreet yet essential base of almost all their frames, built to last. From foam to stitching to fabric, every detail is designed to stand the test of time.
A CUSTOM WELCOME
The showroom spans three floors, offering over 25,000 fabrics, leathers, and finishes. “What sets us apart is how we listen,” says Stéphane. “We’re great at understanding very specific, often personal needs—and responding with care. That’s been our drive from the beginning.”
TAILORED COMFORT
Nothing here is off the rack. A shorter woman needs a work desk? They’ll craft one scaled to her proportions. Five retired siblings with different health concerns? They’ll receive five identicallooking armchairs, each custom-built for individual comfort. And before the fabric is even set, they’ll invite you over for a comfort test and final tweaks—like a whispered last word into the chair’s ear.
A DESIGNER’S GO-TO
At Meubles RE-NO, the values they share with Quebec’s design community are clear: beauty, durability, and integrity. “More than 95% of our clients return to us,” notes in-house designer Angéline Lapointe. “It’s the strongest testament to the trust our dedicated team has earned.”
A SIGNATURE COLLECTION
Angéline is incidentally the talent behind the new house collection—a contemporary line of rounded silhouettes, 100% designed and built in Montréal, right on Charlemagne Avenue in Hochelaga.
Hero pieces include the Avène sofa, Nébul bed, and Morille ottomans. Each one fully customizable down to the finest detail. The line also features two rugs, drawn by the designer and handmade by a seasoned Thai artisan.
EXPANDING BEYOND BORDERS
While Meubles RE-NO is deeply rooted in Montreal, its curiosity runs wide. Since the 1980s, the Massicotte brothers have attended Milan’s Salone del Mobile, forging real friendships with leaders at Fiam, Saba, Bontempi, Nicoline, Kartell, and Flou.
Those deep human connections continue to this day, nurtured through regular transatlantic visits every two or three years—a steady source of inspiration and carefully curated imports.
SHARING THEIR STORY
At a time when cheap offshore production is flooding the market, Meubles RE-NO is making a clear choice: to keep manufacturing locally, uphold high quality standards, and celebrate the trades and people who bring their furniture to life.
“We may be the last of the Mohicans,” Stéphane jokes. “But we believe in what we do. Because behind every piece of furniture, there’s a story from here. A family from here. A pride from here. And that gives real meaning to our lives.”
Materials and components of Québec origin / Rinox 98%, Rialux 60%
Territories served / Québec, rest of Canada, United States
Sales by region / Québec 50%, rest of Canada 45%, United States 5%
Through its two flagship brands, Rinox and Rialux, Groupe Rinox has emerged as a quiet force in Québec’s manufacturing landscape.
High-end concrete for landscaping and masonry from Rinox, innovative aluminum cladding from Rialux—together, they form a material ecosystem designed for the realities of the local market.
Two brands, one shared DNA: local production, an æsthetic inspired by place, and a commitment to offering durable, beautiful, and welldesigned materials for the projects of today and tomorrow.
Founded in 1997 in Terrebonne by Horacio Correia and Rosa Ciccarello Rinox was built on a passion for high-quality concrete products offering pavers, brick, stones and retaining walls, with an unwavering drive to innovate. Today, their children—Bobby, Maria, Jessye, and Sabrina—carry on the legacy. “We grew up in it,” recalls Bobby Correia. “We were there for the product launches, we followed our parents around the factory.”
THE SECOND GENERATION
Today, Bobby leads the company alongside Maria, Jessye, and Sabrina with the calm confidence of those who know the business inside and out. Together, they continue their parents’ mission: to innovate, without ever losing touch with the land.
BETTER TOGETHER
In 2019, the creation of Rialux—specializing in highperformance aluminum siding—added a complementary offer right next door. The two brands now share coordinated palettes, simplifying the work of designers, architects, and self-builders alike.
RINOX_AVA Ash Charcoal, Oka Beige & Caviar
CORREIA FAMILY: Maria Correia, Sabrina Correia, Horacio Correia, Rosa Ciccarello, Jessye Correia, Bobby Correia
REIMAGINING CONCRETE
For more than 25 years, Rinox has been a pioneer in the world of design-grade concrete. From masonry lines containing 30% recycled materials to exceptional high-quality permeable pavers like the Ava collection, the company keeps innovating—while staying rooted in its local identity.
WHERE CONTINENTS MEET
The Clayden brick perfectly embodies the brand’s ethos: a refined European look, imagined and manufactured here, engineered to meet the performance standards of today’s construction sites. A graceful way to bridge tradition and innovation.
The historic, for example, are replicated using modern manufactured materials that retain the city’s architectural character while solving the challenges of traditional installation: cleaner formats, sharper angles, better consistency. A way to combine heritage and efficiency.
CHOOSING LOCAL BY PRINCIPLE
At Rinox, local sourcing isn’t just a priority—it’s a founding principle. In fact, it is one of the only manufacturers using GS cement powder, a low-carbon product made by Ciment Québec in Saint-Basile, near Québec City.
This level of traceability is a rarity in the industry. At Rinox, local commitment is more than a value—it's a practice embedded in every stage of production. “While 98% of our raw materials are sourced within Canada, 100% of the transformation happens right here in Terrebonne.” It's a clear, grounded approach to better building—prioritizing proximity, transparency, and sustainability.
ALUMINUM, WITH A QUÉBEC ACCENT
At Rialux, the design language draws from the textures, colors, and atmosphere of the Québec landscape. The Timberland, Tiago, and Bolton collections features ten tones inspired by noble woods such as the natural cedar found in the Laurentians.
The more contemporary Bolten model reflects the popularity of modern farmhouse style—a look that’s trending both here and in the U.S., especially in high-end residential projects.
PROXIMITY, PRECISION, AND EXCELLENCE
While the raw aluminum is imported, 40% of the other raw materials are sourced in Canada. Everything else—from finishing to texturing—is done in Terrebonne, right next door. This local proximity fuels agility, quality, and service.
RINOX_STRIATO Mist / NOLITA Husky
RIALUX_BOLTON Grey Oak / RINOX_LOTIS GRANDE Eggshell
Always attuned to architects, the group often develops collections based on ideas or sketches from real-world projects. “Our strength is how fast we respond,” explains Bobby. “One conversation with a designer can literally spark an entire product line.”
That’s how the newest Rinox lines—Striato and Nolita came to life: retaining wall collections with striking textures, born from sketches, snapshots, and notes shared by design professionals.
INNOVATING FROM THE INSIDE OUT
An in-house R&D team works closely with on-staff engineers to turn concepts into finished products. From the first sketch to rigorous testing (freeze/thaw cycles, abrasion, resistance), each product is put through its paces before hitting the market.
TOOLS FOR CREATION
To simplify the design process and fuel inspiration, Rinox and Rialux partnered with the firm Lightbeans to develop a powerful yet intuitive virtual design tool. Thanks to this interactive platform, architects and designers can visualize in real time how natural or artificial light affects textures, materials, and combinations.
This ultra-realistic simulation—adjustable by time of day or lighting condition—allows users to test various
finishes, colorways, and product mixes without leaving their screen. The result: significant time savings in early stages, clearer client communication… and a creative process that’s smoother, more agile, and firmly grounded in real-world application.
THINK GLOBAL, BUILD LOCAL
Today, Rinox and Rialux products are found across Québec, Ontario, Western Canada, and seven U.S. states. “Whether it’s an institutional, commercial, or residential project, our goal is clear: to offer a complete solution, from product selection to installation. A true one-stop shop for professionals.”
Like the concrete they shape and the aluminum they transform, the relationships Rinox and Rialux build with their communities are made to last—strong, flexible, and boldly future-focused.
Sales by region / Québec 90%, Ontario 8%, Maritimes 2%
From Mauricie to Montérégie, Québec’s window and door industry is stepping into a new era of innovation. In Shawinigan, Shalwin brings 70 years of expertise to the table as a trusted manufacturer and installer of turnkey solutions. In Richelieu and Saint-Hyacinthe, Prévost Architectural has been a local benchmark for over 65 years, known for its strength in manufacturing and product development. Now united under the Groupe Champagne banner, these two distinct forces are moving forward with purpose and clarity—guided by Co-President Alexandra Champagne’s bold and thoughtful leadership.
A SEAMLESS SUCCESSION
A trained and accomplished lawyer, Alexandra Champagne didn’t initially envision stepping into the family business—an enterprise that owns multiple Québec-based companies and employs over 500 people. And yet, the path revealed itself naturally. Today, she embodies a new generation of leadership, energized by entrepreneurial instinct, youthful drive, and the strength of a legacy built to last.
“At Groupe Champagne, we believe in the power of an integrated, made-in-Québec model. We’ve been active in the fenestration industry for 38 years, and our ambition is to remain a key player for the next 50.”
SEVEN DECADES OF EXPERTISE
Founded 70 years ago in Shawinigan, Shalwin is a pioneer in high-end fenestration. Acquired by Gilles Champagne 38 years ago and spearheaded by Gary Roy for 35 years, the company has earned its place as a reference for large-scale residential and multi-residential projects across Québec. Shalwin manufactures, assembles, installs—and above all, innovates. Its made-to-measure solutions fit seamlessly into both contemporary architecture and luxury homes, with an unwavering focus on energy efficiency, refined finishes, and design excellence.
Now under the leadership of Patrick Guay, who took the reins two years ago, the company continues to champion customization, operational rigor, and client proximity—while holding fast to its founding values: Pleasure, performance and kindness.
HONOURING A PROUD LEGACY
In October 2024, Groupe Champagne’s decision to acquire Prévost Architectural reflected more than a business strategy—it reflected a commitment to local legacy. For the Champagne family, it was vital that this emblematic Québec company remain locally owned. To lead this new chapter, they assigned longtime collaborator Pierre Saint-Laurent as General Manager.
“Part of our mission is to restore Prévost’s place of distinction,” says Alexandra Champagne. “This is a company that helped shape Québec’s fenestration landscape with forward-thinking, innovative products, always paired with outstanding service—and it still has so much to offer.”
A SHARED CULTURE
Beyond their technical expertise, Shalwin and Prévost share a common culture—one rooted in quality, responsible innovation, and deep community involvement. This human-centred approach is reflected in the remarkable loyalty of their teams, with many employees celebrating 20, 30, even 50 years of service.
Community involvement is central as well. Shalwin actively supports education and local sports—a local elementary gym even bears the Shalwin name.
LOCAL SUPPLY
That same sense of rootedness shapes the Group’s supply chains. Favouring Québec and Canadian sourcing, Groupe Champagne also builds long-term relationships with nearby partners. It’s an integrated, people-first model designed for the long run.
At Shalwin, aluminum, glass, and hardware are all sourced in Québec. These eco-responsible choices helped the company earn LEED certification for its full line of instituti onal, commercial, and multi-residential products.
LASTING IMPACT
At Prévost, aluminum also comes from local sources, while its highly specialized hardware is imported from the U.S. and Europe. The company works with a vast network of Québec-based suppliers—key collaborators in the design and manufacturing of unique, high-performance solutions. All products are certified, offer unmatched energy performance, and are praised by glazing professionals for their effortless installation.
“Québec—and Mauricie in particular—has a world-class aluminum industry,” says Champagne. “Sourcing locally is a tangible way for us to honour our values and build a stronger future from the best of what we already have.”
R&D IN THE DRIVER’S SEAT
At Groupe Champagne, innovation is more than a buzzword—it’s a core strategy for performance and differentiation. At Prévost, a full-time in-house R&D team of five experts is dedicated to refining window systems with a focus on energy efficiency, manufacturing precision, and ease of installation.
This design-for-manufacturing-and-installation mindset results in systems that are engineered for speed, precision, and reliability— adding real value for the glazing companies who rely on Prévost’s proven expertise. This approach led to the development of the Window Wall, a patented curtain wall system featured in landmark projects like Mæstria in Montréal and Centrepointe in Ottawa.
CUSTOM INNOVATION, DAY BY DAY
At Shalwin, innovation unfolds daily through the precise integration of tailor-made technical solutions for high-end residential and
01 YOO MONTRÉAL
02 MERCEDES BENZ TROIS-RIVIÈRES
03 DESFORGES PROJECT 04 CENTREXPO DRUMMONDVILLE
STANLEY PROJECT
multi-residential projects. Take Yoo Montréal, a vertical village in the heart of Griffintown where bold design meets industrial heritage. Designed by YOO Inspired by Starck and brought to life by Montréal’s NEUF architect(e)s, the project showcases Shalwin’s commitment to design-forward collaboration.
There, a dedicated team of engineers and industrial designers works closely with architects and clients to tailor each system to the building’s specific requirements.
Photochromic glazing, smart frames, home automation systems, thermo-reactive finishes—every element is engineered to strike the perfect balance between performance, aesthetics, and durability. “Our role is to make the possible visible—to turn project demands into products that are not only elegant and efficient, but built to last,” says Champagne.
TWO PATHS, ONE VISION
From innovation comes alignment. With both Prévost and Shalwin under its wing, Groupe Champagne asserts itself as a driving force in the future of fenestration—advancing a model that is both deeply human and structurally sustainable.
As Shalwin strengthens its footprint in high-end turnkey residential and multi-residential markets across Québec, Prévost expands its reach in the design, manufacture, and distribution of aluminum systems across Canada in commercial, institutional, and multiresidential sectors. Together, their combined strengths reflect a shared ambition: to unite manufacturing excellence, local roots, and thoughtful growth—and, together, shape the future of the window and door industry in Québec and beyond.
FRÉDÉRIC MARIER President & General Manager
QUÉBEC-MADE WORLD-CLASS DESIGN
teknion.com
Head office / Lévis
Teknion Roy & Breton
Made in Québec
Parent company / Teknion Corporation, Toronto, Canada
Year of foundation / 1956
Number of employees / 1 100
Local production / 99% made in Québec
Materials and components of Québec origin / 55%
Territories served / Worldwide
Sales by region / Canada 30%, United States 60 %, rest of the world 10%
In Québec’s manufacturing landscape, Teknion Roy & Breton stands as a deeply rooted force with a clear vision for the future. Founded in 1956 in Saint-Vallier-de-Bellechasse, the company built its reputation on the precision and reliability of its office furniture. Since joining the Teknion family in 1999, it has combined regional autonomy and international reach with strong creative independence.
Here, on an 815,000 sq. ft. campus along the St. Lawrence River, world-class work environments are designed and built—in a production ecosystem that is agile, people-first, and proudly Québecois.
THE CARE FACTOR
A native of Montmagny, Frédéric Marier joined Roy & Breton in 1998, just a year before it became part of Teknion. Over time, he rose through the ranks, eventually becoming President in 2022. His greatest pride? A culture of care—for clients, for products… but first and foremost, for employees.
A STRATEGIC HUB
The Teknion Roy & Breton facility is where it all started in 1956. Across seven sites—Lévis, Montmagny, Laurier-Station, Saint-Vallier 1,100 people are involved in designing and producing some of the brand’s most iconic products. In Lévis, custom orders alone account for 35% of the company’s revenue. “Our design teams work upstream with architects and designers. That ongoing dialogue is what gives us real relevance.”
A HALLMARK COLLECTION
Another flagship product, Expansion Casegoods, is designed for every part of the office—executive suites, workstations, meeting rooms—and features over 26,000 compatible components. Modular and standardized, it ensures ease of installation and reconfiguration.
A GLOBAL BESTSELLER
Launched in 2002, Expansion Casegoods has been refined year after year, becoming the group’s top-selling product worldwide.“Entirely designed and made here, this product has been a pillar for more than 20 years—a true testament to our commitment to quality and sustainable design,” adds Frédéric Marier.
LOCAL HANDS, GLOBAL IMPACT
That design philosophy—rigorous, local, and responsible—extends to production practices. Over the past five years, Teknion Roy & Breton has invested more than $30 million in Québec to modernize facilities, optimize processes, and boost innovation. By maintaining full control over its production chain, it reduces turnaround times, enhances quality, and lowers its carbon footprint.
A RESPONSIBLE ECOSYSTEM
Circular thinking runs deep. In Montmagny, laminated glass waste is repurposed into filtration sand and mulch. Glassine paper liners are transformed into insulating materials. Polyester strapping is shredded and reused. The company was the first Canadian furniture manufacturer to obtain ISO 14001 certification and aims to cut greenhouse gas emissions in half by 2030. “Our five factories and two warehouses are all within a 60 km radius,” Marier explains. “That’s tangible: less transport, clean energy, and a fully sustainable product lifecycle.”
01 FACTORY Teknion Roy & Breton / 02 TEKNION ROY & BRETON DESIGN TEAM AT WORK–Teamwork is one of the company’s core values: here, the product design team is hard at work. / 03 TURNING POST-INDUSTRIAL WASTE INTO HOME INSULATION PRODUCTS – Glassine — label backing paper — is upcycled into insulation by our partner, Soprema.. / 04 GROUNDBREAKING METHOD (FIRST OF ITS KIND IN NORTH AMERICA) TO DELAMINATE GLASS INTO FILTRATION SAND – Laminated glass production waste is converted into filtration-grade sand, especially for pool use.
FUNCTIONING HOODS
Among its award winning products, the Expansion Cityline collection– inspired by the definitive patterns of urban neighbourhoods– is based on the concept of planning for a workplace as diverse and dynamic as a modern city. Like the public and private places where resident dwellers work and play, Expansion Cityline offers a highly active setting that allows people to move, to gather and to disperse when privacy and focus is desired.
A MOMENT OF GLORY
When it launched at NeoCon 2017 in Chicago, Expansion Cityline made waves—winning seventeen international awards, including the industry’s most prestigious: a Gold IDEA Award from the Industrial Designers Society of America (IDSA), beating out major players like Samsung.
“It was a massive collective achievement,” says Frédéric Marier. “A design team in Lévis — people from here—created a product celebrated around the world. That was our Stanley Cup moment.”
A CIVIC-MINDED COMPANY
Here, community engagement isn’t just a slogan—it’s a daily practice. Teknion Roy & Breton partners with organizations like CÉTAL and Formaca, which support people with functional limitations in the workforce, and with Travail Jeunesse, which trains at-risk youth while offering them long-term employment—often within the company itself.
DESIGN THROUGH DIALOGUE
For the Teknion family of brands, design is a dynamic conversation. At Lévis, the creative team collaborates seamlessly with colleagues from across Canada and worldwide, ensuring they remain at the forefront of emerging trends. This global exchange fuels inspiration, drawing from residential aesthetics, natural materials, and soft palettes to craft inviting and innovative workspaces.
THE CAPITOL EFFECT
When clients or partners visit the Lévis team, they’re treated to the full experience—starting with the obligatory ferry ride across the river to Old Québec for fine dining. But it’s winter that always seals the deal: the Carnaval, the Bonhomme, and a signature cocktail at the Hôtel de Glace—memories that forge lasting bonds.
PROUDLY LOCAL AND FUTURE-FOCUSED
In a world where outsourcing is the norm, Teknion Roy & Breton charts a different course: world-class design, conceived and made in Québec for a global audience.
“We’ve been here for 65 years—and we’re more committed than ever to staying the course. What defines us? A worldclass company… deeply rooted in its community.”
CHARLES-ANTOINE GAUVREAU General Manager
vanico-maronyx.com
Head office and parent company / Terrebonne
Year of foundation / 1980
Number of employees / 90
Local production / 97% made in Québec
Materials and components of Québec origin / 27%
Territories served / Québec, rest of Canada, United States
Vanico-Maronyx
Made in Québec
Sales by region / Québec 65%, rest of Canada 23%, United States 12%
Born from the fusion of two Québec-based expertise, Vanico-Maronyx combines functional design, deep customization, and local manufacturing within a one-of-a-kind facility in North America. Here, capital is shared, ideas are too— and every bathroom is built to last.
The story begins in 1980 with Vanico in SainteAnne-des-Plaines and Maronyx in Boucherville. Two entrepreneurs—Robert Gauvreau for Vanico and Jacques Parisé for Maronyx—two names, two complementary strengths: furniture for one, composites and sinks for the other.
PENTHOUSE PLAZA COLLECTION
ROOTED IN LEGACY
By the 1990s, recognizing their synergy, the two companies began co-developing products—distributed by one or the other, depending on the collection. In 1998, they moved under the same roof in Terrebonne, and the merger became official in 2000.
A FAMILY AFFAIR
Current General Manager Charles-Antoine Gauvreau, son of Vanico’s founder, quite literally grew up in the business. “I always knew this was what I wanted to do,” he says. “I studied business at university and joined Vanico-Maronyx with the intention of staying.”
From sweeping floors at 10 to summer internships and eventually shared leadership, he now steers the company alongside partner Alain Belzile.
A SHARED SUCCESS
In 2005, Gauvreau and Belzile took a bold step: creating a worker-shareholder cooperative—a concrete way to anchor the company in an ethical form of capitalism, where wealth is shared and pride is built collectively. As the GM often says, “Together means everything, here.”
Today, the cooperative owns 20% of the company, making it the third-largest shareholder. At Vanico-Maronyx, belonging goes beyond a paycheck—it’s reflected daily in shared decisions, mutual accountability, and a collective commitment to advancing local expertise.
CUBIK AXIS COLLECTION
VANITY DUO
A SHARED SUCCESS
In 2005, Gauvreau and Belzile took a bold step: creating a worker-shareholder cooperative—a concrete way to anchor the company in an ethical form of capitalism, where wealth is shared and pride is built collectively. As the GM often says, “Together means everything, here.” Today, the cooperative owns 20% of the company, making it the third-largest shareholder. At Vanico-Maronyx, belonging goes beyond a paycheck—it’s reflected daily in shared decisions, mutual accountability, and a collective commitment to advancing local expertise.
A COLLABORATIVE ECOSYSTEM
Inside this 78,000 sq. ft. facility, furniture, stone, and composite come together under one roof. Unique in North America, this space is more than a manufacturing site—it is a place of design, adaptation, and refinement, driven by teamwork, technological integration, and a deep respect for artisanal expertise.
A COLLABORATIVE ECOSYSTEM
Inside this 78,000 sq. ft. facility, furniture, stone, and composite come together under one roof. Unique in North America, this space is more than a manufacturing site—it is a place of design, adaptation, and refinement, driven by teamwork, technological integration, and a deep respect for artisanal expertise.
TECHNOLOGY IN SERVICE OF CRAFT
From 3D CAD to ERP systems and additive manufacturing, technology enhances personalization—without replacing the human hand. The one that checks, adjusts, polishes. At Vanico-Maronyx, innovation supports the made-to-measure—never the other way around.
A CLEAR VISION AND BROADER HORIZON
In an increasingly competitive landscape, the company relies on proximity, in-house mastery, and the transfer of know-how. “Know-how stays in Québec, and so do the talents—as much a strategic decision as a statement of purpose.”
A RECOGNIZED DISTINCTION
In North American markets often saturated by sameness, this Québec brand stands out through a refined, flexible, human approach—one that resonates with both designers and discerning consumers.
REFINEMENT, ONE PIECE AT A TIME
A testament to mastered craftsmanship, the Penthouse collection combines clean lines, noble materials, and thoughtfully integrated functionality. Available in sub-collections like Plaza and Skyline, it reflects a vision of design that is contemporary, modular, and elegantly timeless. Each piece is made to endure—and to captivate.
ELEGANCE, UNLEASHED
Created with architects and designers in mind, the collection opens up a new level of creative freedom, with 13 customizable fronts and over 500 combinations of materials, finishes, and
tones. Woodgrain textures, satin lacquers, matte or glossy effects, mineral or deeper hues—every element contributes to a cohesive, bespoke environment. With integrated handles, concealed lighting, and floating volumes, the result is a design language that is understated, assured, and resolutely modern.
APPEALING BEYOND BORDERS
Firmly rooted in Québec, Vanico-Maronyx is expanding thoughtfully—first in Ontario, then in the U.S., where its bespoke and responsible approach resonates with clients seeking better.
“If tariffs apply, we absorb the difference. Our American customers should never have to worry.”
BUILT HERE, MEANT TO LAST
In a world moving too fast, Vanico-Maronyx takes the time to do things right: to design well, build well, and deliver with care. With 97% of its production made in Québec, a team united by a cooperative spirit, and a design philosophy grounded in both purpose and beauty, the company offers more than a product—it offers a lasting vision for the home.
FUZION COLLECTION
Québec Design Tourism
QUÉBEC AS A DESTINATION
In La Belle Province, some places do more than welcome—they leave a mark, spark wonder, and stir inspiration. From spas and hotels to restaurants, cultural quarters, and luxury districts, every experience is crafted with care, at the crossroads of hospitality, identity, and territory.
From Charlevoix to the Laurentians, from Sherbrooke to Montréal, discover distinctive destinations where architecture, design, and storytelling transform tourism into a lasting encounter between beauty, craftsmanship, and memory.
FORGING MEMORIES
In a world where travel has evolved into a search for meaning, design and architecture emerge as
true artisans of emotion and memory. Today’s tourist destinations offer more than accommodation—they tell a story, awaken the senses, and forge a lasting bond with those who pass through them.
PLACES OF DISTINCTION
Hotels, spas, restaurants, cultural institutions— each project featured here embodies a vision of tourism enriched by design: a way of inhabiting the world with beauty, depth, and intention.
PROPELLING EXPERIENCE
For design and architecture lovers, this is an invitation to see Québec as a destination in its own right. Continue the journey on int.design, where the Get Inspired search engine offers a curated selection of exceptional addresses— from here and beyond.
FAROUCHE
Design in Symbiosis with Nature, an Experience Deeply Rooted
At Farouche, on Tremblant’s northern slope, design soothes and makes room for what truly matters: the raw beauty of the Laurentians. Clean lines, natural materials, and carefully balanced volumes—the architecture, designed by Atelier L’Abri, recedes to let the landscape take the lead, following the rhythm of the forest, the wind, and the silence of the mountains.
The cabins embody this philosophy: minimalist yet luxurious, open to nature, they invite you to slow down. These havens of calm offer moonlit nights and awakenings to birdsong.
At the buvette, design becomes a gathering space. Its open structure— blending sweeping mountain views with a warm village feel—radiates a gentle, vibrant elegance. Seasonal dishes, natural wines, and fresh farm harvests are enjoyed in an atmosphere both relaxed and refined.
The farm is the beating heart of Farouche. With a permaculture garden, edible flowers, beehives, and berries, it nourishes and inspires the entire site. It is here that farm-to-table feasts, guided foraging, and sensory workshops are born.
The experience continues outdoors: forest trails, wild river beaches, meditative or active pauses, and Nordic bathing—everything is designed for a profound reconnection with the living world. Here, design is not just æsthetic; it is a carrier of emotion, stillness, and meaning.
farouche.ca
CITQ # 629356
LAURENTIDES
STONEHAVEN LE MANOIR
Heritage Treasure of the Laurentians
Overlooking Lac des Sables in Sainte-Agathe-des-Monts, StoneHaven Le Manoir has been reborn from a glorious heritage past. Built in 1908 for Douglas Lorne McGibbon, this elegant Scottish-inspired residence quickly became the very first sanatorium in the Laurentians. After his passing, it was acquired by the Oblate Fathers and operated as a retreat center, preserving its unique spirit.
In 2015, Georges Coulombe, a renowned heritage restoration specialist, invested over $10 million in its renovation. Now transformed into a 34-room Relais & Châteaux, the manor’s original architecture is elevated by carefully curated antique furniture and artworks. The new Pavilion, formerly the nuns’ residence, adds 17 equally refined rooms, featuring premium bedding and exceptional furnishings.
The Italian garden at the heart of the property offers a unique visual retreat, blending harmoniously with the surrounding natural landscape. Since 2019, guests have also enjoyed access to a spa, hammam, outdoor pool, fine dining restaurant, and elegant event spaces.
This remarkable rebirth bears the signature of Georges Coulombe’s sensitive and passionate vision, supported by Sonia Gagné of Provencher_Roy Architectes, who helped perfect every detail.
stonehavenlemanoir.com
CITQ # 209646
MONTÉRÉGIE
FÖRENA CITÉ THERMALE
At the Water’s Edge
Brave the bold temperatures of these thermal complexes inspired by the lands of Iceland, Germany, and Russia, all while honoring the traditions that shaped their iconic thermotherapy rituals. Let the gentle breeze of the Piterak carry you to Iceland, the Fœhn transport you to Germany’s wellness heritage, and the Buran surprise you with its invigorating intensity.
Designed in collaboration with Projet Paysage and Blouin Tardif Architecte, the site stands out with its clean lines, striking volumes, and expansive windows that open the spaces to the surrounding landscape. The result is a contemporary, minimalist, and immersive atmosphere that encourages deep relaxation and disconnection. Förena blends tradition and innovation into a cohesive concept—both grounding and transporting. A true thermal sanctuary where time slows down and body and mind regain balance.
And when your soothed body craves a different kind of journey, let your senses continue the exploration through a unique gastronomic experience. Led by our chefs, Förena’s restaurant is constantly pushing the boundaries of culinary creativity. True creators and flavor explorers, the team is composed of seasoned epicureans who craft refreshing and delicious dishes daily—each bite transporting you to distant shores. forena.ca
MONTÉRÉGIE
QUARTIER DIX30
A Design-Forward Destination Under the Open Sky
Just 15 minutes from downtown Montréal, Quartier DIX30 reimagines the open-air urban experience. Inspired by North America’s great pedestrian avenues, this hybrid destination brings together fashion, gastronomy, wellness, and culture in a vibrant, accessible setting.
With over 270 boutiques, 70 restaurants, 45 terraces, 38 wellness spaces, and more than 10 cultural and entertainment attractions, every detail is designed to blend æsthetics, comfort, and lifestyle.
This year, don’t miss the debut of the Avenue des Lumières, where over 120,000 sq. ft. of parking has been transformed into a lush outdoor park. Modern architecture meets public art, lively terraces, and immersive programming.
All summer long, free cultural events energize the district day and night. DIX30 is a must-visit destination for urban design enthusiasts and curious travelers alike.
quartierdix30.com
CLUB ST-DENIS
A Private Haven in the Heart of Montréal
Club St-Denis 257SE is an exclusive private oasis, reserved for members and their guests. Whether you're hosting a high-level business meeting, seeking a refined space to store and enjoy your wine, or gathering with friends for a sophisticated 5 à 7, this private club offers a true home away from home in the heart of Montréal.
Designed by the acclaimed firm Huma Design, the space combines elegance and intention. Every element has been meticulously crafted to deliver a seamless and elevated experience for our members. Becoming a member of Club St-Denis is more than an invitation—it’s an opportunity to be part of a distinguished legacy and connect with a dynamic community of influential, forward-thinking individuals.
clubstdenis.com
MONTRÉAL
GAULT
Heritage Reinvented, Luxury Revealed
Housed within a 19th-century building in Old Montréal, Hotel Gault offers 30 elegant suites that blend exposed brick walls and minimalist furnishings for a refined atmosphere.
Its lobby was recently redesigned by the firm YH2, which illuminated and streamlined the space while preserving the original heritage character through bold use of light and materials.
hotelgault.com
MONVILLE
A Bold Vision of Urban Luxury
# 177096
Located in the heart of downtown Montréal, Hôtel Monville—designed by ACDF Architecture—boasts a striking black-and-white trompe-l’œil façade and a clean, minimalist æsthetic. Its triple-height lobby, adorned with monumental columns and warm oak woodwork, cultivates a welcoming yet contemporary ambiance.
The 269 rooms feature floor-to-ceiling windows with breathtaking city views and incorporate innovative technology, including robotic roomservice delivery, creating a fresh, modern urban experience.
hotelmonville.com CITQ # 295871
MONTRÉAL
ROYALMOUNT
A Must-Visit for Design-Loving Travellers
ROYALMOUNT is Montréal’s newest destination for luxury shopping, dining, and cultural discovery—designed for travellers in search of exclusive, one-of-a-kind experiences. Just minutes from downtown and easily accessible by metro or bike, it combines bold architecture, high-end retail, and immersive art.
At its core is a 77,000 sq. ft. urban park—a lush open-air oasis featuring public art, cultural performances, and seasonal events. Surrounding the park is the highest concentration of international luxury flagships in Québec, including Louis Vuitton, Gucci, and Versace. With over 100 shops and restaurants now open—and more than 50% of the brands new to the province—ROYALMOUNT is a true discovery for design-conscious visitors.
From winter skating under the stars to sun-drenched patios and exclusive pop-ups, every detail is curated to inspire. Enjoy chef-driven cuisine, explore striking art installations, and access premium services that elevate the experience.
Whether it’s your first visit to Montréal or your latest getaway, ROYALMOUNT offers an experience that is stylish, unexpected—and truly unlike anything else in the city.
Royalmount.com
MONTRÉAL
SONOLUX
New Immersive and Contemporary Art Hotel
SonoLux is a boutique hotel where art shapes hospitality. Behind its grand neoclassical façade in Old Montréal, guests step into a space born of creative collaboration—designed to feel both immersive and intimate, in an atmosphere as welcoming as it is unexpected.
The inaugural exhibition, Seeds of R/Evolution, curated by Cheryl Sim of PHI, invites guests to reflect on our shared future through works by local and international artists. LUMI, the hotel’s restaurant led by chef Graham Hood, draws from nature’s offerings to craft a seasonal, paradoxical menu. Hidden in the depths of SonoLux is Subterra, an audio lounge featuring vinyl sets, DJ performances, and intimate live events curated by Fred Everything.
SonoLux’s 36 guest rooms serve as inspiring retreats, blending clean lines, playful lighting, and plush comfort.
Imagine sharing a meal as the walls come alive, encountering a thoughtprovoking piece on your way to your room, exchanging insights with a fellow traveler, or returning to an artwork that lingers in your mind. At SonoLux, art awakens the senses and becomes a seamless part of your Montréal stay.
sonolux.ca
SPA NORDIC STATION
A Journey Through the Elements
Nestled in the heart of the Estrie forest, Spa Nordic Station stands as a secluded sanctuary, where design steps back to let nature take center stage. Built around stone and wood structures, the site evokes the authenticity of the early Nordic spas, with architecture that embraces the natural terrain and engages in quiet dialogue with the Castle River.
The thermal experience unfolds as an immersive journey: Californian baths, Finnish saunas, Russian banya, steam crypt, invigorating waterfalls, and peaceful rest areas overlooking the water. Each station offers a sensory encounter with the elements, in a hushed and soothing atmosphere.
The design—subtle and organic—prioritizes natural materials, controlled volumes, and fluid circulation. The facilities integrate harmoniously into the landscape, fostering a deep reconnection with the living world. Between steam and light, heat and coolness, every moment becomes a ritual.
A place of slowness, contemplation, and presence, Spa Nordic Station is an ode to coming back to oneself—where well-being is rooted in the very fabric of the landscape.
spanordicstation.com
HILTON
QUÉBEC
Experience Hilton Québec - Design, View, Comfort
Just steps from Old Québec, staying at the Hilton Québec means immersing yourself in the heart of the city. Behind its clean facade, the hotel reveals bright, airy spaces and interiors reimagined in 2020 by LemayMichaud, blending elegance, modernity, and warmth inspired by the Saint Lawrence River. The guest rooms, offering spectacular views from morning to night, are enhanced with custom tapestries created from photographs of Old Québec, adding a unique local touch. The spacious, residential-style suites provide a distinctive experience, thoughtfully designed to delight design enthusiasts while ensuring unmatched comfort.
Located high up on the 23rd floor, the panoramic Executive Lounge offers one of the most stunning views of Québec City. This exclusive space includes several benefits and perks that enhance the guest experience. The hotel also features the outstanding CABU Boire et Manger restaurant, led by renowned chef Marie-Chantal Lepage, and a heated rooftop pool complete with bar and baldaquin beds in summer.
Book your next stay with promo code Québec and enjoy up to 25% off the daily rate.
QUÉBEC
QUÉBEC
HOTEL MANOIR VICTORIA
Meet with History
Hotel Manoir Victoria’s history dates back to the 1830s, when it was located across from its current site, east of Côte du Palais. In the late 19th century, the owner at the time made waves by adding a swimming pool and Turkish baths—on the very grounds where today’s modern hotel stands, with 156 elegant rooms and suites.
Nearly two centuries later, the hotel draws travelers in search of local delicacies and a certain je-ne-sais-quoi. It’s here that Chef Arnaud Marchand set up his team in 2012, opening the now well-renowned Chez Boulay –bistro boréal. In a decor designed by LemayMichaud, the restaurant serves seasonal cuisine crafted from local ingredients, recently recommended in Michelin Guide’s first regional edition.
In 2022, Marchand’s team struck again with Le Bedeau, a wine-forward restaurant making wine more approachable and affordable. Once again, LemayMichaud—who also designed the hotel’s public spaces and rooms— was tapped to design the venue, this time drawing inspiration from a trove of vintage church furnishings acquired by the chef. Thanks to a new investment this summer, guests will be able to access Le Bedeau directly from the hotel lobby, making Hotel Manoir Victoria more deliciously irresistible than ever. manoir-victoria.com
CITQ # 025535
QUÉBEC
STRØM SPA NORDIQUE
Le Strøm du Vieux-Québec élu Canada’s Best Day Spa aux World Spa Awards 2024
The acclaimed Strøm Nordic Spa in Old Québec continues to shine on the international stage. Designed with user well-being at its core, every space and atmosphere has been thoughtfully crafted with intention. The minimalist, timeless architecture echœs the sensory journey, offering a pure moment of relaxation. It reveals a true haven of peace—a place to both rejuvenate and slow down.
Strøm Old Québec stands out for three key features:
• Its location, where the vastness, power, and tranquility of the St. Lawrence River create a sense of complete disconnection.
•Its architecture, with carefully composed perspectives and expansive windows that flood the space with light and reflect the sky.
• Its facilities, including an infinity pool, a marble steam bath, the Laga flotation bath, and a serene atmosphere—culminating in the indoor/outdoor bath… a journey between darkness and light.
To discover Strøm Old Québec is to experience unmatched relaxation. stromspa.com
20 24
Canada's Best Day Spa
CHEZ TRUCHON BOUTIQUE CHARLEVOIX L’ÎLE MYSTÉRIEUSE
Three Destinations, One Heartbeat!
Chef Truchon invites you on a sensory journey through the heart of Charlevoix, in La Malbaie. Begin your experience at L’Île Mystérieuse, where signature cocktails and local delights are served as tapas or light meals—on the terrace or in an immersive setting inspired by Jules Verne.
Continue on to Bistro Chez Truchon, where a warm, gourmet table awaits, showcasing the region’s finest producers, whether you choose to dine indoors or al fresco.
Extend the experience with a digestif on our island… followed by a peaceful night at the inn, in one of our cozy and charming rooms.
Before you leave, don’t miss the boutique, a tribute to local creativity: jewelry, pillows, books, socks, pottery—and a curated art gallery space. Unique treasures to bring home.
A project designed in collaboration with FOR. design planning and SIMARD architecture.
aubergecheztruchon.com
ilemysterieuse.com
CITQ # 023203
FAIRMONT LE MANOIR RICHELIEU
Where the River Watches Over
In 1899, a 250-room wooden hotel opened in Pointe-au-Pic, welcoming travelers arriving on sumptuous steamboats. By then, the area was already one of North America's best-known resort destinations. The owners gave it a prestigious name—Le Manoir Richelieu—in honor of Cardinal Richelieu. Architect Edward Maxwell was entrusted with the project overlooking a grand landscape.
After a 1928 fire destroyed the hotel, it was rebuilt in just nine months to plans by architect John S. Archibald and reopened on June 15, 1929. This time, wood was replaced with concrete sourced from nearby hills. The new structure, inspired by Normandy’s châteaux, featured a saltwater pool and a casino for shows and dances.
In 1999, Manoir Richelieu began a new chapter under the Fairmont banner, following over $140 million in renovations and a major Casino expansion. Since then, it has continued to evolve with a new golf Clubhouse, revamped restaurants, and outdoor terraces offering breathtaking views of the Saint Lawrence River.
fairmont-manoir-richelieu.com
CITQ # 062436
CHARLEVOIX
CHARLEVOIX
TERACEA CHARLEVOIX
The Luxury of a Chalet with the Comfort of a Grand Hotel TERACEA, a secluded estate perched high in Cap-à-l’Aigle, offers a truly revitalizing experience in the heart of nature. For your next vacation or corporate retreat in Charlevoix, discover an exclusive collection of 21 architect-designed chalets and five pavilions—each offering breathtaking views, personalized service, and exceptional comfort, all part of the TERACEA hospitality signature.
Just steps from the peacefulness of your chalet, immerse yourself in the welcoming atmosphere of Le Hameau, designed by self-taught architect Florent Moser in collaboration with Alain Carle Architectes. A suspended pool between river and sky, private alcove lounges, tennis court, observation tower, and gathering pavilion—every element is designed to enrich your stay.
teracea.com
CITQ # 311231
CHARLEVOIX
TERRITOIRE CHARLEVOIX
Mountainside Escape, Fully Framed by Nature
Nested between La Malbaie and Baie-Saint-Paul, Territoire Charlevoix is a secluded retreat set high in the wooded hills of the region. Spread across a vast mountainside, a collection of cabins blends seamlessly into the landscape, offering spectacular views of Charlevoix’s valleys, forests, and endless horizons.
Designed by Atelier L’Abri, the architecture embraces simple forms, rich raw materials, and a direct relationship with nature. Each cabin offers panoramic vistas, expansive windows, and a minimalist yet cozy interior layout. Everything is designed to make space for calm, natural light, and a more mindful connection with the land.
Guests enjoy complete autonomy—free to roam the vast grounds on long walks, indulge in gourmet pauses at Buvette Oui Oui, and wind down their days facing the open horizon.
Territoire Charlevoix is now part of BESIDE’s curated collection of naturebased accommodations.
beside.earth/territoire-charlevoix
During the 17th edition, several Québec-based projects stood out in the tourism industry, showcasing the talent and innovation of our local creators. From accommodations and restaurants to cultural and recreational activities, these achievements are redefining the standards of hospitality and tourism design while elevating Québec’s profile on the international stage.
CHARLEVOIX
Bertha - Hôtel particulier by Perron
Petite-Rivière-Saint-François Travel exchange
CHARLEVOIX
Territoire Charlevoix by Atelier L'Abri La Malbaie beside.earth/territoire-charlevoix
LAURENTIDES
Centre sportif de la MRC des Pays-d’en-Haut by RÉGIS
Sainte-Adèle centresportifpaysdenhaut.com
LAVAL
Espace Montmorency by Groupe Montoni Laval espacemontmorency.com
MONTRÉAL
Allez Up De Gaspé by Smith Vigeant Architectes Montréal allezup.com
MONTRÉAL
Château d'ivoire by ArchiMontréal chateaudivoire.com
CHARLEVOIX
L’Île Mystérieuse by FOR. design planning La Malbaie ilemysterieuse.com
ESTRIE Pittstop Vélo-Café by MUUK Architecture Bromont pittstop.com
LAURENTIDES
La Maison Lavande by Syscomax Saint-Eustache maisonlavande.ca
MONTÉRÉGIE
Nord Laboratoire culinaire by Strøm spa nordique Chambly restaurantnord.com
MONTRÉAL
Blackswan Studio by Entre quatre murs Montréal
MONTRÉAL
Club Saint Denis by Humà Design + Architecture Montréal clubstdenis.com
MONTRÉAL
Club Sportif MAA by LemayMichaud Montréal clubsportifmaa.com
MONTRÉAL
Le rendez-vous gourmand du complexe Desjardins by Régis Montréal
MONTRÉAL
Parc Rosemont by Projet Paysage Montréal
MONTRÉAL
WELMÄ Studio, Montreal by Susan Homa Welmä Lifestyle Montréal welmalifestyle.ca
QUÉBEC
Cosmos Lebourgneuf – Terrasse by Perron Québec lecosmos.com
QUÉBEC
Parc Chauveau by BC2 et Ville de Québec Québec
QUÉBEC
SITE ARCHEOLOGIQUE
CARTIER ROBERVAL by CIRCUM.ARCHITECTURE Québec capitale.gouv.qc.ca/lieux/ site-archeologique-cartier-roberval
MONTRÉAL
Grand Quai du Port de Montréal by Nippaysage & Provencher_Roy Montréal
port-montreal.com/fr/grand-quai
MONTRÉAL
Moishes by Patty Xenos Design Montréal moishes.ca
MONTRÉAL
Tour du Port de Montréal by Provencher_Roy Montréal
port-montreal.com/fr/grand-quai/tour
OUTAOUAIS
Résidence Chalet de la baie by M ton intérieur - Résidence Chalet de la baie Lac Simon chaletsauquebec.com
QUÉBEC
Julio by Lanterne architectes Québec juliotaqueria.ca
QUÉBEC
Quai de Sainte-Anne-de-Beaupré by Groupe A / Annexe U Québec
QUÉBEC
Distillerie Arsenal & Co. by Patriarche Québec arsenaldistillerie.com
RZ4
Elaborate or simple, RZ4 proposes a reception taylored to your image.
