Watching a jury operate during an awards program deliberation can feel a bit like watching a classic ocean wildlife docuseries narrated by Sir David Attenborough, where sometimes there is chaotic frenzy and sometimes a school of fish turns en masse on a dime. It is after winners are chosen and the dust settles that we turn unconsciously to looking for patterns, and then meanings in those patterns. This year, a move away from preservation as replication and toward preservation as reinterpretation could not be ignored, as many of the highest-rated projects embrace existing narratives or vernacular forms but filter them through a distinctly contemporary lens. The Project of the Year winner exemplifies this by using the historical relationship between Sir Wilfrid Laurier and Zoé Lafontaine as a narrative framework while introducing contemporary materials, colours, and spatial contrasts. Similar thinking appears in the Hazel McCallion Central Library revitalization, which reinterprets the building’s postmodern legacy rather than erasing it. Residential projects reinforce the same idea: Snider House integrates a highly contemporary addition into one of Toronto’s oldest surviving homes; Heritage Home in Calgary avoids nostalgic reproduction in favour of atmosphere and historical references; Timbertop House and Vanessa reinterpret rural and agrarian archetypes without becoming literal recreations. Even hospitality projects such as JUU KU and ToriDori demonstrate this tendency: both draw from Japanese cultural references while deliberately avoiding clichés, favouring atmosphere over direct imitation.
Speaking of atmosphere, the transformation of nearly every building type into an experience-first environment is evident. At Muskoka Island Spa, ritualized sequences of sauna, plunge, steam, and massage spaces create a wellness experience, yet that same thinking appears in office projects such as Torys, explicitly described as feeling more like a private club than a conventional workplace; and Berczy Square becoming an “urban living room.” Retail projects likewise prioritize journey and discovery: Henri Noël Jewelry is organized as a cabinet of curiosities; Lightform Vancouver slows visitors through theatrical draped environments; Monos Georgetown uses thresholds, framed views, sound, and scent to create a travel-like experience.
Institutional projects reveal the same ambition: York University Markham Campus, Fanshawe Toronto @ ILAC, and the Royalmount Inclusive Washrooms all place emotional comfort, social engagement, wellness, and intuitive movement at the centre of the design agenda. The common thread is the growing influence of hospitality thinking across every sector.
As always, the two categories of Projects and Products required distinct judging exercises, held on separate days and with the generous support of Teknion, which hosted us at their Toronto Collaboration Hub. Our deepest appreciation goes to our volunteer judges for their invaluable contribution to this year’s awards. These accomplished design professionals dedicated significant time and thoughtfulness to a rigorous evaluation process, carefully reviewing each submission to identify the entrants that best exemplify innovation and creativity in Canadian design. For Projects we enlisted four judges with distinctive continua of experiences and specializations: Jude Kamal, founder of Sansa Interiors; Nicola Casciato, principal at WZMH Architects; mixed-media artist and public installation specialist Jordan Sook, and industry advocate and stalwart Tracy Bowie. On the Products side, three judges put their in-the-trenches expertise to work analyzing a difficult category: Kaylyn Belcourt, president of Copernicus Educational Products and president of the Association of Chartered Industrial Designers of Ontario (ACIDO); Tessa Bain, president and co-founder of House of Digby; and Marti Gallucci, design director at Mason Studio.
Ultimately, a total of 34 winners were chosen, which include five Products and 29 Projects representing a truly Canadian spectrum of urban and rural. When it came to selecting Project of the Year, the Fairmont Château Laurier, Wilfrid’s and Zoe’s by Frank Architecture was an early and strong favourite. “This beautifully balanced space blends classical grandeur with modern refinement, while a soft blush-pink palette adds warmth, romance, and an understated elegance that feels both timeless and contemporary,” effused Tracy Bowie.
The Best of Canada Awards remains committed to showcasing the exceptional talent and ingenuity of Canada’s interior product designers, with Judges’ Pick going to the G7 Tyndall Stone Tables by Thom Fougere Studio. “The table elevates humble, everyday material through precision and intelligence. Each stone element carries natural variation, ensuring no two pieces are alike, while the finely resolved detailing introduces a sense of rigor and refinement,” raved Marti Gallucci. “Modular in nature, the piece performs with equal confidence as a singular object or as part of a larger composition, reflecting the idea that collective strength amplifies individual presence.”
Congratulations to all 34 winners!
The July/August 2026 Best of Canada Awards issue of Canadian Interiors magazine.
See all the 2026 Best of Canada Awards winners.
