Congratulations on your admission to the University of Toronto’s John H. Daniels Faculty of Architecture, Landscape, and Design—an unparalleled centre for learning and research offering graduate programs in architecture, landscape architecture, forestry, urban design and visual studies, as well as unique undergraduate programs that use architecture and design as bases for pursuing a broader education.     

When you choose to join us at Daniels, you’ll be a part of and have access to:  

•   The No. 1 university in Canada, the most sustainable university in the world, plus the fourth-best public university in North America and 12th worldwide 
• A dynamic downtown campus in the heart of Canada’s largest and most diverse city 
• Unparalleled extracurricular opportunities, including varsity athletics, clubs, international exchange programs and leadership/mentorship  
• Canada’s No. 1 university for graduate employability and top 20 globally 
• The highest scholarship and financial funding amongst all Canadian universities 

At the Daniels Faculty, the environment in which our students learn and congregate is as unique as our program offerings. Our hub at 1 Spadina Crescent—the Daniels Building—is a bold work of architecture and landscape on a prominent urban site between U of T’s St. George campus and the vibrant centre of Toronto. Across Spadina Crescent, the North and South Borden buildings (home to our visual studies programs) and the Earth Sciences Centre (HQ for forestry studies) complete the Faculty’s trifecta of sites. 

Whether you’re travelling to Canada to begin your studies, navigating a move to Toronto, or choosing our Faculty to continue your academic journey—we’re here to support you in all the steps ahead.   

So, what comes next?

Visit the Newly Admitted Students section of the Daniels website for resources, key contacts and important dates. 

• New Undergraduate Students (BAAS, BAVS) 
• New Graduate Students (MARC, MLA, MFC, MUD, MVS) 
• New Research Stream Students (MScF and PhD programs)

Have a question? Get in touch with us!

Please feel free to contact the Office of the Registrar and Student Services.

• undergraduate@daniels.utoronto.ca
• graduate@daniels.utoronto.ca
• researchstream@daniels.utoronto.ca

Renowned Toronto-based architect and distinguished U of T alumnus Bruce Kuwabara was awarded an honorary Doctor of Laws degree during the Daniels Faculty’s 2024 Convocation ceremony on Thursday, July 20.

One of Canada’s most acclaimed practitioners, Kuwabara has designed some of the country’s finest structures, including Kitchener’s award-winning City Hall, the National Ballet School in Toronto and the Remai Modern in Saskatoon. He has also been a valued campus-builder at his alma mater, helping to shape the development of U of T’s physical space over the years and contributing to the success of the Daniels Faculty in various capacities.

Born in 1949 in Hamilton, Kuwabara earned his degree in architecture from U of T in 1972. After graduating, he joined the teaching studio of architect George Baird, whose interest in public spaces and city building influenced how Kuwabara thought about his work. (Decades later, Baird would serve as Dean of the Daniels Faculty.)

Following the apprenticeship with Baird, Kuwabara joined Barton Myers Associates, where he worked for 12 years. When Myers left Canada in 1987, he handed over his Toronto practice to Kuwabara and three of his fellow associates at the firm—Tom Payne, Marianne McKenna and Shirley Blumberg. Together, they created the new firm KPMB. (Payne ventured out on his own in 2013, but the remaining principals retained the “P” in the practice’s name.)

In 2006, former Daniels Faculty Dean Larry Wayne Richards wrote in Canadian Architect that “Kuwabara’s agenda is not just about making objects and places of great beauty, but something more active, more profound. Something that is simultaneously both culturally stabilizing and transforming.”

Before he received his honorary doctorate at the Convocation ceremony in Convocation Hall, Kuwabara was introduced by Acting Dean Robert Levit.

“Bruce Kuwabara has played a leading role in successive fundraising campaigns at the University, including serving as Co-Chair of the Daniels Faculty’s Design the Future campaign, during which he led the establishment of the Frank Gehry International Visiting Chair in Architectural Design,” Acting Dean Levit noted. “He has served on Provostial Advisory Committees for the appointment of the Dean of the Daniels Faculty and is a valued contributor to accreditation reviews and academic plans. He is also an industry leader in design governance, sitting as the inaugural Chair of Waterfront Toronto’s Design Review Panel and serving as Co-Chair and Appointed Member of the University’s Design Review Committee.”

In 2006, Kuwabara was awarded the Royal Architectural Institute of Canada’s Gold Medal, the country’s highest honour for architects. In 2012, he was made an Officer of the Order of Canada for “shaping our built landscape in lasting ways.”

For the full U of T News story on the granting of Kuwabara’s honorary degree, click here.

Currently on display across all three floors of the Daniels Building at 1 Spadina Crescent, the 2023/24 End of Year Show spotlights student work from each of the degree programs at the Daniels Faculty, including graduate and undergraduate studies in Architecture, Landscape Architecture, Forestry, Urban Design and Visual Studies.

On view until the end of June, the annual exhibition this year encompasses “three-dimensional, two-dimensional, audio and digital projects,” say Brandon Bergem and Jeffrey Garcia, co-curators of the 2023/24 Show.

Both are sessional lecturers at the Faculty as well as the co-founders of the interdisciplinary design practice Office In Search Of (OISO).

“Our best approximation,” they say, “is that 300-plus students are represented [in the show], with contributions ranging from…a four-foot-by-four-foot orthographic drawing [and] a collection of gifs on a monitor [to] a three-foot-long section drawing and a handcrafted wooden lounge chair.”

According to the curators, the selection and organization of the vast body of student submissions was based largely on two guiding principles.

“The first was how to celebrate the immense collective creative output produced by students at the Faculty and not focus on individual students or prioritize any course or program. The second was how to best represent the projects optimally without compromising the integrity of the work.”

For example, they say, “students in the Forestry program produce exceptional research, and Visual Studies students often display work in formats that require different consideration than what we are accustomed to in studio reviews.”

As a whole, the exhibition offers a comprehensive and revealing survey of the wide-ranging yet synergistic study taking place at the school right now.

Still, say Bergem and Garcia, how to exhibit the breadth of this work presented no small challenge.

“The layout of an entire exhibition catalogue was spread across every pin-up panel in the main-floor hallway. In the second-floor hallway, each pin-up panel was dedicated to specific drawing types (site plans, sections, elevations, etc.), then covered in a wallpaper of black and white drawings from students’ projects, assembled like puzzle pieces. 

“On the second floor, we devised a continuous 16-foot strip composed of collages and renderings that were mounted on the walls in one of the rooms that projected into the space by wrapping around the columns. In another, tree-based objects like mallets, chairs and a memorial sculpture were staged like a tableau in the centre of the room, with research graphics attached to the walls.

“In a room on the third floor, most of the 2D material was suspended rather than pinned to the walls and the 3D objects were placed on a clustered field of plinths and light tables.”

Through these various entry points, visitors are consequently invited “to discern the themes based on commonalities and differences—for example, how can design be used as a method to advocate for biodiversity and the prevention of environmental degradation? How can the intersection of urbanism, architecture and social equity be used to inspire a higher quality of living? [And] how can the concept of a building site transcend physical location to be inclusive of cultural, historical and ecological influences?"

At the same time, questions based on medium and methodology—such as the effectiveness of orthographic drawings in communicating design intent and organization or the degree to which unconventional two- and three-dimensional forms challenge expectations of how design is interpreted—are also posed in the show.

The End of Year Show in its current building-wide incarnation will be on view at 1 Spadina until the end of June. A curated selection will then be installed in the Larry Wayne Richards Gallery and the Commons until early September. 

The Daniels Building is open to the public from 8:30 a.m. to 7:00 p.m. every weekday, with fob access only on Saturdays and Sundays.

All photographs by Adrian Yu + Office In Search Of

The Inuusirvik Community Wellness Hub—an award-winning building designed by the practice Lateral Office, which Professor Mason White co-leads with Lola Sheppard—is featured on the cover of the June issue of Canadian Architect. 

“The building opened late last year in Iqaluit’s downtown core and was instantly beloved,” journalist Adele Weder writes in the feature article devoted to the project. “In a community that struggles with social and geographic isolation, the Wellness Hub could turn out to be the town’s most important new building in years.” 

The Wellness Hub is a compact multi-purpose community centre that brings together many services in Nunavut’s capital, such as counselling and daycare facilities, a wellness research centre, a research library, food preparation and gathering spaces.

Inspired by Indigenous vernacular structures, the building’s design was recognized with a 2023 Canadian Architect Award for the Lateral Office team, which includes sessional lecturer Kearon Roy Taylor, as well as Verne Reimer Architecture Inc. 

Professor White has long focused his architectural research on the North—among his projects have been the Canadian exhibition “Arctic Adaptations: Nunavut at 15” at the 2014 Venice Biennale, the 2017 publication Many Norths: Spatial Practice in a Polar Territory, and the ACSA Award-winning installation “Contested Circumpolar: Domestic Territories.” 

“For all their years of research, the Wellness Hub is the first completed building for Lateral Office, whose principals hold academic positions at the architecture schools at the universities of Toronto and Waterloo,” Weder writes. “Their practice has long been more focused on raising questions than chasing commissions.”  

Iqaluit is one of the fastest-growing cities in Canada and, as Weder notes, the burgeoning demand for new buildings is both an architectural opportunity and an imperative to design responsibly. 

“There is a wider conversation about circumpolar architectural typology: What is an arctic vernacular today?” says Professor White, Director of the Faculty’s Master of Urban Design and Post-Professional programs. “This building is a response to that question, but it is not the response. We’re just happy that this building can contribute to the wider conversation.” 

Read the full article online or pick up a copy of the June issue of Canadian Architect. 

All photography ©2024 Andrew Latreille. All rights reserved.

The SHIFT* Collective, a student-run publishing group based within the Daniels Faculty, will be hosting a launch event this week to celebrate the first edition of its new digital and print publication, called Scaffold* Journal.

The launch will take place on Friday, May 31, from 6:00 p.m. to 7:30 p.m., in the Student Commons at 1 Spadina Crescent. Remarks will be made by the editorial team, accompanied by refreshments and a complimentary zine. No tickets are required, and all interested students, faculty and members of the public are invited to attend.

Focusing on the various methodologies of design research and visual inquiry used by students, scholars and practitioners, the first edition of Scaffold* includes the work of 21 contributors, as well as interviews with six emerging scholars and practitioners, plus visual contributions.

As noted in the call for submissions in December, the journal “intends to demystify the research process and present researchers with the opportunity to curiously and critically reflect upon their own creative and design processes.”

To that end, a diverse range of published works has been assembled, deconstructing methods from the use of interviews and ethnography in the design process to architectural reconstruction and speculative fabulation. Contributions include essays, drawings and mixed-media works spanning architecture, landscape architecture, visual studies and urban design, with projects and ideas from students at the undergraduate, graduate and doctoral levels.

Drawing on the legacy of the previous journal SHIFT* as a risograph publication, the collective will release an exclusive zine that reflects on the inspirations behind the new journal and its formation over the past months. Three commissions from undergraduate and graduate students also reflect on the process of “what it means to scaffold a project,” from the role of social media in curating precedence to self-scaffolding and the ongoing projects of SHIFT* team members.

In addition, the team has designed a small installation detailing the works behind the publication, displayed on the ground level of the Daniels Building (pictured at top).

The SHIFT* Collective “would like to express its immense gratitude for the ongoing support” of the Daniels Faculty and of the Office of the Dean, “both of which have been instrumental in the realization of this first publication.”

The journal’s faculty advisory board, which includes head operational advisor Lukas Pauer and internal advisor Jewel Amoah, “has also played a crucial role in the development and curation of the project.”

The digital publication can be accessed at theshiftcollective.net on May 31.

A full printed volume including the first and second editions will be released in the fall.

Associate Professor Aziza Chaouni is this year’s recipient of the World Monuments Fund (WMF) Watch Award, which the international preservation organization is bestowing on her for “her innovative work in heritage preservation through the implementation of sustainable technologies” in arid climates and elsewhere.

“Chaouni’s leadership and inventive solutions,” says the body, “have benefited multiple communities and sites across the globe, including her recent collaboration with Lafarge-Holcim Morocco on post-earthquake reconstruction efforts in [the Moroccan province of] Haouz.” 

It adds: “Her collaborations with WMF at Ontario Place in Canada, Old Fourah Bay College in Sierra Leone and Maison du Peuple in Burkina Faso exemplify her ability to integrate cultural preservation with sustainable design.”

In addition to teaching at the Daniels Faculty, Chaouni (pictured below) is the founding principal of Aziza Chaouni Projects, a multidisciplinary design practice based in Toronto and Fez, Morocco. Among its primary mandates are “researching and making resilient and environmentally sensitive designs, buildings, neighbourhoods and cities.” 

Chaouni’s work has been recognized with numerous international awards, including top honours from the Holcim Foundation for Sustainable Construction, which extolled projects in both its Global and Regional Africa and Middle East categories.

“Aziza Chaouni has been instrumental in merging architectural preservation with environmental sustainability, particularly in regions that receive low rainfall [and] where such efforts are crucial,” says Bénédicte de Montlaur, President and CEO of the WMF. “Her partnerships with World Monuments Fund in North America and Africa demonstrate her dedication and her resourceful approach.”

Since 1965, the WMF has raised $300 million to support more than 700 cultural-heritage sites in 112 countries. Through the World Monuments Watch—a biennial, nomination-based program—the organization uses cultural-heritage conservation to empower communities and improve human well-being. 

Chaouni will receive the 2024 Watch Award at the WMF’s annual Summer Soirée, which will take place in New York City, the organization’s home base, on Wednesday, June 5.

For further information on the body’s work, visit wmf.org. For more details on the 2024 Watch Award, click here.

Banner images: 1. Maison du Peuple, Burkina Faso. 2. Ontario Place, Toronto. 3. Old Fourah Bay College, Sierra Leone.

Ever wondered what's inside 1 Spadina Crescent? Curious about the history of the revitalized neo-Gothic building at its centre? Whether you have always wanted to wander the halls or simply haven’t visited in a while, there is something for everyone to discover during Doors Open Toronto 2024.

More than 150 buildings and sites are on the roster of this year’s instalment of the popular annual event, which sees local landmarks throw their doors open to the public. The Daniels Building at 1 Spadina Crescent will be open for self-guided tours on Sunday, May 26 from 10:00 a.m. to 5:00 p.m.

Originally built as a prospect to the lake, the historic structure was the first site of Knox College in 1875, a military hospital during the First World War and the place where Connaught Laboratories manufactured insulin in the 1940s. Today it’s home to the John H. Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto, which reimagined the complex for the 21st Century.

A striking contemporary addition, designed by NADAAA and completed in 2018, combines the Knox College structure with cutting-edge facilities, from versatile new studios to a digital fabrication lab. In addition to taking in the architectural splendours and storied history of the revitalized 1 Spadina hub, visitors will have plenty of current work to take in as well.

Here’s a glimpse at what will be on view:

End of Year Show 2023/2024 

A Daniels Faculty tradition encompassing a wide range of projects, this exhibition showcases student work from across the Faculty’s degree programs in Architecture, Forestry, Landscape Architecture, Urban Design and Visual Studies. Student work can be seen on all three floors of the Daniels Building. 

Outer Circle Road by Seth Fluker 

Outer Circle Road by Seth Fluker is a collection of Toronto photographs depicting a city’s energy in constant flux. On view in the first-floor Larry Wayne Richards Gallery and presented in partnership with CONTACT Photography Festival, the series reflects the dynamism of our urban context, a landscape of abundance, waste and regeneration.  

Robotics in Architecture and Design  

Throughout the building you will encounter robotic arms as well as a variety of installations and objects created with their help. Many of these were produced over the past week as a part of workshops run during ROB|ARCH 2024, an international conference centred on robotics in architecture and design. Outside, don’t miss Geosphere, a larger, immersive display by the faculty’s John Nguyen, Nicholas Hoban, Paul Kozak and Rahul Sehijpaul, that is installed at the south entrance.

Building Black Success through Design Showcase 

Head to room DA240 on the second floor for a celebration of the outstanding design achievements by the young designers who recently completed the Building Black Success Through Design (BBSD) program. BBSD is a free mentorship program at the Daniels Faculty for Black high-school students that inspires them to pursue excellence and innovation within design industries and academia, enhancing diversity in the fields. 

Eberhard Zeidler Library 

The library is open to the public, offering students, researchers, urban planners, design professionals, journalists and design aficionados access to art, architecture, landscape architecture and urban design collections unrivalled in Toronto.  

Admission to the Daniels Building and to all Doors Open venues is free. A dedicated brochure with map of the Daniels Building will be available for visitors.

Visit the Doors Open Toronto website for a full list of participating sites.

In March, the exhibition “How to Steal a Country” opened in the Daniels Faculty’s Larry Wayne Richards Gallery, transforming the display space at 1 Spadina Crescent into scenes from the ongoing Russian invasion of Ukraine.

Using scale- and life-size dioramas, vignettes and tableaus, the immersive exhibition reflects some of the research conducted by 2022-2024 Emerging Architect Fellow Lukas Pauer into the role that architecture can play in asserting or suppressing national identity and sovereignty. 

As both the exhibition and his fellowship wind down, Pauer took the time to answer a few questions about the show and the work behind it. “How to Steal a Country” closes on May 14.

“How to Steal a Country,” your research-based exhibition on the role of architecture in the Russian invasion of Ukraine, is part of the research and teaching you have undertaken as an Emerging Architect Fellow. Can you elaborate on how the exhibition reflects this work?

My work has been concerned with the histories of space and power in the built environment and their entanglements with the present. On arrival here at Daniels and building upon the findings of my doctoral dissertation, I started developing a series of teaching aids for my students in various formats to allow them to better understand imperial-colonial violence as a pervasive and ongoing reality around the world that is not a historic event but that continues to be manifested through seemingly minor or banal practices and built objects of the everyday.

For example, in a series of input lectures, I shared my theoretical framework and research on many case studies from different sites around the world in which countries presently instrumentalize buildings and infrastructure to project power, to claim authority over people and land. These cases were envisioned as exemplary vehicles for students to acquire and test unconventional skills that most students might not have acquired yet during their studies. In a series of skills workshops, I taught a range of techniques I have employed in my practice and research for students. Consequently, having spent a large part of my fellowship translating my practice and research into original teaching aids in the context of the courses I taught, it felt only natural to also conceive my fellowship exhibition as a teaching aid.

In terms of its medium/format, the aim behind the work remains a didactic-pedagogical one—how do we develop a vocabulary that allows us to visually, materially and spatially describe how authority over people and land is manifested through seemingly minor or banal practices of the everyday?

The title of your exhibition is a provocative one. Is the Russian invasion of Ukraine a prototypical case of using built objects to project power and subvert sovereignty or an atypical one?

Many visitors of the exhibition would speak to me about the parallels they saw in the exhibition with what is part of the imperial-colonial history and ongoing present of what is presently known as Canada. For example, one section of the exhibition discusses the forced deportation and naturalization of Ukrainian children. By supposedly “evacuating” Ukrainian children into the supposed “care” of “foster parents” in Russia under the guise of supposed “reeducation” and “welfare services,” the Russian government has sought to make it difficult to preserve their independent post-Soviet Ukrainian identity. Not unlike what happened to many Indigenous local children in what is presently known as Canada, this has led to the assimilation of children, by invalidating their originally identity.

So in terms of its topic, the exhibition applies the aforementioned theoretical framework and analytical techniques for the role of architecture in sovereignty disputes to discuss a very specific context. However, part of the didactic-pedogagical intent of the exhibition is for the visitor to be able to make parallels to other contexts. This is not by chance. Over the past 10 years, I have critically studied how imperial-colonial expansion has been performed architecturally throughout history in ancient, medieval, modern and recent times, as well as still today.

This has led to a comparative theoretical framework and repository of case studies from different sites around the world in which countries presently instrumentalize buildings and infrastructure to project power. This includes but is not limited to the context of the Russian invasion of Ukraine, which is not necessarily an atypical case. So there will be subsequent exhibitions and associated publications applying the framework and techniques to other sovereignty disputes. Stay tuned.

What lessons might be learned from your research by either governments or their people about recognizing subversion and protecting sovereignty?

Although recent scholarship alludes to a relationship between space and power as well as the various ways in which power has configured space, many people seeking to participate in the political life of their community still lack the vocabulary to describe how authority over people and land is manifested through seemingly minor or banal practices of the everyday.

We have come up with diplomatic doctrines to respond to soft power. We have military doctrines to deal with hard power. However, policy-makers lack appropriate tools and models that aid the recognition of more hybrid kinds of non-verbal visual, material and spatial interventions. These come above the line of what is commonly understood as diplomacy but below the line of warfare. Within this grey zone, recent practices have instrumentalized many different types of built objects. For example, in the case of the current exhibition on display, Russia has instrumentalized humanitarian aid operations, bank branches and Internet and telephone facilities, as well as child boarding and care facilities to project power.

Such objects capitalize on their ambiguity. They seem to be neither diplomatic nor military in function, which renders their instrumentalization plausibly deniable. A lack of understanding how any object may be instrumentalized for political purposes limits people’s ability and responsibility to contribute to political decisions about the built environment.

One of your conclusions is that “sovereignty is a performative concept dependent on an audience.” Can you elaborate on this idea?

Sovereignty has been a key term for my work. If we untangle the very definition of this concept, which refers to “authority over people and land” and then untangle the concept of authority itself, which refers to “recognized power,” or a power that is being seen, that is being recognized by individuals or a community as being legitimate.

So if power over people and land depends on being seen, on being recognized in order to become legitimate, by definition sovereignty depends on an audience. As such, the very definition of sovereignty is a theatrical, a performative concept. It depends on being seen by a domestic or foreign audience. The hinge that can anchor a claim to authority over people and land to the ground are sovereignty markers, the “facts on the ground.” You can plant a flag or construct a building as a marker of sovereignty, to make a claim in a very specific place, but if you do not document this flag or building in various media such as taking a photo or making a drawing of it, it may as well have never happened.

In the case of the current exhibition on display, these would be the buildings and infrastructure that Russia has instrumentalized to legitimize its claims to sovereignty—the humanitarian aid operations, bank branches and Internet and telephone facilities, as well as child boarding and care facilities. These four case types are each displayed in a niche of the gallery. Not by chance have they been displayed as theatrical prop-like objects to create an immersive experience. These techniques from theatrical set model-making in the design of the exhibition are a nod to the theatricality of claims to sovereignty.

All images, including Lukas Pauer at the opening of “How to Steal a Country” in March 2024, by Harry Choi

The Canada Council for the Arts has announced that the Living Room Collective will represent Canada at the 19th International Architecture Exhibition – La Biennale di Venezia, from May 10 to November 23, 2025. 

Selected by a Council-designated selection committee, from among the group of five shortlisted candidates, the Living Room Collective will curate the next architecture exhibition at the Canada Pavilion. 

The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, a lecturer and the Director of Applied Technologies at the Daniels Faculty, Vincent Hui, a professor at Toronto Metropolitan University’s Department of Architectural Science, and Clayton Lee, a curator, producer and performance artist.  

Together this group of architects, scientists, artists, and educators will work at the intersection of architecture, biology, and digital fabrication to situate architecture as an integral and supportive component of our ecosystem.  

“It is an incredible honor to have been selected to represent Canada at the 2025 Venice Architecture Biennale,” the Living Room Collective said in a statement. “In demonstrating the possibilities of a collaborative relationship with nature, we look forward to leveraging this global platform alongside national and international partners to engage in a critical dialogue around alternative design practices that can sit alongside contemporary carbon neutral building strategies.”  

Read the full announcement from the Canada Council for the Arts. 

About Living Room Collective   

Andrea Shin Ling is an architect and bio-designer who works at the intersection of design, digital fabrication and biology. Her work focuses on how the critical application of biologically and computationally mediated design processes can move society away from exploitative systems of production to regenerative ones. She is the 2020 S+T+ARTS Grand Prize winner for her work as Ginkgo Bioworks’ creative resident designing the decay of artifacts in order to access material circularity. Shin Ling is a founder of designGUILD, a Toronto-based art collective, and was a researcher in the Mediated Matter Group at the MIT Media Lab, where she worked on Aguahoja I, a 3D-printed bio-material pavilion. She is currently a doctoral fellow at the Chair of Digital Building Technologies at the Institute of Technology and Architecture, ETH Zurich.

Nicholas Hoban is a computational designer, fabricator and educator. He works at the intersection of computational design, robotics, construction and simulation in pedagogy, research and practice. Hoban is the Director, Applied Technologies, at the Daniels Faculty and a lecturer within the Daniels technology specialist program, leading various research and teaching labs while developing curriculum for studios and seminars on advanced fabrication and robotics within architecture. His research focuses on the application of robotics within fabrication and construction, and how we can solve critical problems in geometry through integrated processes. Hoban was a lead fabricator and computational designer for two previous Venice Biennales: for the 2014 Canadian Pavilion for Lateral Office’s Arctic Adaptations and for the 2016 Swiss Pavilion for Christian Kerez’s Incidental Space.  

Vincent Hui is a distinguished professor at Toronto Metropolitan University’s Department of Architectural Science, imparting knowledge across diverse domains from design studios to digital tools. His pedagogical excellence has earned him multiple teaching accolades, as he delves into the intersections of architecture, fabrication and allied disciplines. With over 25 years of experience, his extensive publication portfolio focuses on design pedagogy, simulation, prototyping and technological convergence, complemented by a rich body of creative work showcased globally. Collaborating with esteemed organizations such as the Royal Architectural Institute of Canada (RAIC), the Ontario Association of Architects (OAA) and the Canadian Architecture Students’ Association (CASA), Hui endeavors to empower the next generation of designers, navigating emergent shifts in praxis. Committed to bridging academia and industry, he advocates for experiential learning initiatives and outreach endeavors for aspiring designers. His remarkable contributions have culminated in his induction into the esteemed RAIC College of Fellows.  

Clayton Lee is a curator, producer and performance artist. He is currently the Director (Artistic) of the Fierce Festival in Birmingham, England. He was previously the Director of the Rhubarb Festival, Canada’s longest-running festival of new and experimental performance, at Buddies in Bad Times Theatre. Lee has also worked as Creative Producer on Jess Dobkin’s projects, including For What It’s Worth, her commission at the Wellcome Collection in London, England; as Curatorial Associate at the Luminato Festival; and as Managing Producer of CanadaHub at the Edinburgh Festival Fringe. Lee’s performance projects have been presented in venues across Canada, the United States, the United Kingdom and New Zealand. He was one of the Art Gallery of Ontario’s 2023 Artists-in-Residence.  

Banner image from left to right: Andrea Shin Ling. Photo: Andrei Jipa; Nicholas Hoban. Photo: Nazanin Kazemi; Clayton Lee. Photo: Sam Frank Wood; Vincent Hui. Photo: Florencio Tameta.

The annual Thesis Booklets showcasing the final thesis projects of both graduate and undergraduate students at the Daniels Faculty are available for viewing.

The Graduate Booklet features the work of Master of Architecture (MARC), Master of Landscape Architecture (MLA), Master of Urban Design (MUD) and Master of Visual Studies (MVS) students at the Faculty, while the Undergraduate Booklet showcases the final project work of students in the Bachelor of Arts in Architectural Studies (BAAS) and Bachelor of Arts in Visual Studies (BAVS) programs.

Thesis booklets are a Daniels Faculty tradition, printed for and distributed to thesis students, as well as thesis advisors, external reviewers and guests.

The Booklets contain images and brief statements by students who are presenting final projects for the semester listed at the culmination of their studies.

Flip through the latest booklets below or download PDFs by clicking here: graduate, undergraduate.

GRADUATE FLIPBOOK

UNDERGRADUATE FLIPBOOK

And flip through a special digital edition of the Thesis Booklet featuring a diverse array of Post-Professional Master of Architecture (MARC) projects. The post-professional MARC is an advanced design and research program for individuals already holding a professional degree in architecture.  

POST-PROFESSIONAL FLIPBOOK