STORR, 2025
Findlay Starritt, (He, him)
Birch, White Ash, and steel
Storr is a hardwood, packable shelving unit that requires only four bolts for assembly. It was designed to mitigate “breakable” elements and incentivize long-term ownership through transparent and easily packable design. In response to disposable furniture and the linear economy, this object strikes a balance between a manufacturable product and one that is durable, bespoke, and adaptable to the user’s life. Storr is designed to be passed down through generations.
STORR
The HexTab Lamp, 2025
Christa Topalian, (she, her)
Reclaimed aluminum can tabs, aluminum rods and PLA 3d print
The HexTab Lamp transforms discarded aluminum can tabs into a sculptural, chainmail-like pendant that balances ambiance and function. Designed for disassembly, repair, and full recyclability, it promotes circular design at every stage. Its modular construction allows easy maintenance and long-term use, while the reflective metal surface creates dynamic lighting. By combining craft, sustainability, and adaptability, the lamp reimagines waste as a durable, elegant lighting solution.
The HexTab Lamp
Lampada, 2025
Giuseppe Arcuri, (He, him)
Pine and aluminum
This lamp was developed through an admiration for Enzo Mari’s Autoprogettazione series, which emphasizes democratic design, autonomy, and clarity. Within that ethos, the project explores how simple materials and direct assembly methods can produce an object that clearly expresses how it is made, encouraging a more engaged and informed approach to making and understanding the objects we live with.
Lampada
Between Our Ghost Kingdoms, 2025
Samika Prupas, (She, her)
Japanese fibre paper, book board, book cloth, and glue
This project was created to try to understand what connects us, the adoptees from China’s one-child policy, and what continues to shape the spaces between us. I interviewed sixteen women adopted from China, including myself. Each exchange offered a glimpse into shared yet deeply personal histories. This book brings together our words, memories, and visual works to form a collective archive, one that acknowledges the grief and the beauty of our experiences related to adoption.
Between Our Ghost Kingdoms
The Afternoon Table, 2025
Findlay Starritt, (He, him)
1/2in Plywood
This table requires no hardware or tools for assembly apart from a mallet. Made entirely from 1/2” Baltic Birch plywood, this design can be altered to maximize material of any sheet. The prototype was made using scrap wood, leaving almost no waste material post-milling. Using a CNC machine, the fabrication time of this table is around an hour and assembly is about fifteen minutes, becoming easier with each time.
The Afternoon Table
Cortica Coffee Table, 2025
Amelie Barbati, Claire Lamarre-Niemi, and Yael Corneli, (She, her)
Steel pipe and teak stained pine wood
Cortica is a minimal coffee table inspired by the structure of the cortical bone, which is defined by its dense outer shell and intricate interior. Circular metal ribs create a lightweight frame and integrated storage for magazines, while a vertical support holds a solid pine tabletop. The wood adds warmth and develops wear over time, referencing living material. The design combines structural clarity with everyday functionality.
Cortica Coffee Table
Realtime Audio Metamorphosis, 2026
Aalok Sud (he/him), Louis Barbier (they/them)
Unreal Engine and Blender
Realtime Audio Metamorphosis is an interactive experience set in a post-human landscape, where the player controls a memory-less butterfly discovering audio stems. Agency lies within the organism itself, as the environment starts to deteriorate in the absence of its movement. The butterfly’s survival depends upon consumption, represented by glowing flowers scattered throughout the world. Your goal is to collect these tiny audio objects in the form of butterfly swarms. By flying through them, these swarms attach to you, adding permanent layers to the world’s soundtrack. The entire soundscape is synthesized in real-time, using various oscillators and noise generators rather than static samples.
Realtime Audio Metamorphosis
BLOCKY, 2025
Yuta Fujushima, (He, him)
Walnut wood, cherry wood, PLA, LED disk and acrylic sheet
A children’s lamp for a pediatric setting, designed to provide warmth through sensory experiences. Users interactively manipulate light by placing wood blocks onto seventeen light rods, which function as individual manual dimmers. This lamp challenges traditional automation, encouraging intentional connection through tactile play. Beyond its illumination, the blocks serve as a standalone toy, fostering a creative and stress-relieving choreography between the child and their environment.
BLOCKY
3 rokh (3 faces), 2025
Saba Moayed, (She, her)
Plywood and fish glue
This project examines Montreal’s snowfall by creating an Arbour structure that captures snow and echoes Mount Royal’s three summits (the Colline de la Croix, Westmount Summit, and Tiohtià:ke Otsi- ra’kéhne). Inspired by Olmsted’s vision for accessible parks and using reclaimed Ash wood from trees lost to the emerald ash borer, the Arbour offers privacy and a deeper connection to nature. A thoughtful architectural response to Montreal’s environmental, historical, and cultural context.
3 rokh (3 faces)
Dégenrer notre langue, 2025
Angélie Côté, (She, her)
Paper and cotton thread
This hand-sewn book questions and explores the future of the French language and its adaptability to include gender fluidity. So that not only women, but everyone can feel represented. I am always interested in how language shapes our worldview, and it felt especially personal and genuine to explore that with my mother tongue.
Dégenrer notre langue
v-ramke, 2025
Masha Karaganova , (She, her)
Waxed steel and washi paper
This sculptural lamp was built for a brutalist interior. The choice of exposed hardware and strong geometric forms reflect these industrial qualities. To contrast this rigidity, the steel frame introduces organic curves inspired by Art Nouveau to soften the presence. The rectangular shape allows it to sit flush against walls for spatial efficiency, or to divide larger spaces. The steel is finished with a natural beeswax and linseed oil treatment to prevent rust.
v-ramke
Brisa, 2025
Lucas Olivares Navarrete, (He, him)
Steel and brass
Brisa is a handmade, fillet-brazed chromoly steel bicycle frameset. Endurance all-road experimental geometry, custom-fitted for the rider. The slim tube profiles and lack of bridges allow the metal to flex and spring for a comfortable ride. The surface was naturally treated with a tree-nut extract, in a process still under development. The choices of materials, joinery, and finish converge in an object that will both last for many decades and lower the barrier for repairs, modifications, or recycling.
Brisa
будьмо / "Budmo", 2025
Alexander Keretschko, (He, him)
Pixel Art and embroidery on textile
Budmo is an embroidered mat characterized by its layered personal and cultural history. Using my grandmother’s woven mat as the medium, I added horse motifs, custom type, and geometric designs inspired by traditional Ukrainian embroidery. These symbols hint at themes of resilience and cultural identity, echoing imagery tied to protection, remembrance, and prosperity. Developed through research and hand embroidery, Budmo becomes a modern talisman that honours its origins, bridging generations through shared material memory.
будьмо / "Budmo"
SUDARE Lamp, 2026
Kota Fukuda, (He, him, she, her)
Japanese washi paper, 18 guage steel and PLA
SUDARE is a folding lamp that explores how light can be filtered rather than contained. Inspired by Japanese sudare screens, the piece uses a trifold steel structure and pleated diffuser to cast shifting bands of light and shadow. As the panels open and close, the lamp subtly reshapes its surroundings, acting as both object and partition. It is an interest in how light, material and structure can define an atmosphere.
SUDARE Lamp
CUJAH vol.xxii, 2026
Matthieu Chatelain (He/him), William McMurray (He/him)
Cardstock paper
CUJAH is a student-run annual publication showcasing written work from Concordia’s Art History department. The book was designed between February and March 2026 in collaboration with lead editor Sam Tréville.
CUJAH vol.xxii
OSNDS, 2025
Max Lee Pottie, (He, him)
Laser-printed cardstock and metal O-rings
OSDNDS is a speculative print manual that imagines the lived experience of working as a technician within a corporate space colony. Set in orbit around Mars, the project explores the tension between technological progress and the fragile persistence of human identity. It reflects on what it means to remain connected to Earth—emotionally, culturally, and ethically—while being physically and psychologically distanced from it.
OSNDS
Chevron Bench, 2025
Max Lee Pottie, (He, him)
Plywood, card stock, paper insulation, and natural branches
The Chevron Bench is a modular public installation proposed for a fictional pedestrian Van Horne Viaduct. Constructed from repurposed rail ties and designed for disassembly. The form of the bench is inspired by the sweeping views of the Mont-Royal Park, Mile-End and Rosemont neighbourhoods. The chevron shape allows for a variety of views whilst also creating a wind protected space large enough for community members to gather.
Chevron Bench
Burn Block, 2025
Oliver Sutherland, (He, him)
Pine wood and tung oil
An incense burner representing a plot of land. Plant clippings are arranged in the small holes, and incense is placed in the larger hole. Meant to serve as a meditation on one’s presence within a landscape. This object was modelled virtually and carved by an automated CNC machine. The surface of the wood was lightly sanded by hand and finished with tung oil.
Burn Block
Je suis dieu et j’aime les jeux, 2026
Aydan Mc Grail, (He, him)
Digital interactive website
A collection of four mini games where you play as the hand of God and influence the lives of your devotees. Once the counter bar fills up, a fifth game can be unlocked.
Je suis dieu et j’aime les jeux
Abiogenesis: Witnessing the Beginning of a Digital Life-Form, 2025
Kiana Rezaee and ANK, (She, her)
Digital media and suspended fabric sculpture
Abiogenesis is an interactive piece that stages an encounter between the digital, the physical, and the human. A suspended fabric sculpture activates only in the presence of a body. Through spatial exchange, movement becomes the medium through which the organism comes to life, presenting life as something relational.
Abiogenesis: Witnessing the Beginning of a Digital Life-Form
the place of scraps (pg. 27, 51), 2026
Quentin Meilhon, (He, him)
Repurposed linen dyed with blueberry tea and sublimation printing
Drawn from Jordan Abel's erasure poetry book the place of scraps (2013), this garment is a design-art interpretation aiming to touch on the intersection of queerness, Nisga’a identity, and grief. This piece hopes to reflect and connect to the deep emotional expression felt within the book, as well as the physical qualities of the book as a designed object.
the place of scraps (pg. 27, 51)
intangible, 2026
Juju Tieman, (they/them)
Collaborative audio-visual website
Intangible is an interactive audio archive that re-imagines how we explore and share sounds. Instead of passive, algorithm-driven streaming, participants enter/create "rooms" populated with sounds, and in each room, they navigate node clusters in a 3D graph. Each node triggers a sound uploaded by another visitor, creating a non-linear, exploratory listening experience and an unmediated collaborative approach to archiving sounds of our daily lives.
intangible
Tandem, 2025
Gabriel Makinde, (He, him)
.925 Sterling Silver
Tandem is a sculptural necklace composed of solid links, handmade and cast in sterling silver. Each segment draws from the visual language of a chain’s continuous pattern, and reinterprets it as a solid, helical-shaped volume.
Tandem
Digital Window, 2026
Eliasz Ostling, (He, him)
Aluminum, PLA, acrylic and electronic components
Digital Window is an electronic interface which breaks down images into their most basic form, creating strange low resolution copies of the original. While cycling through the photos, you can see remnants of more complete ideas and memories. A house with a grass lawn, a snowstorm. The images become colour, tone, and pattern. Distorted versions of reality.
Digital Window
一啖一啖嘅回憶 / Remembering Through Taste: One Bite at a Time, 2025
Anna Huang, (She, her)
Rice paper, metal sheet, and screws
This calendar reflects on Chinese food and aesthetics in North America, tracing how culture is remembered, transformed, and sometimes lost over time. Each month unfolds its own theme, with writing, illustration, and typography guiding slow, attentive engagement. Every day holds a short reflection by the designer, a story that grows as pages turn, fade, or even tear, leaving fragments behind and inviting each viewer to shape its meaning.
一啖一啖嘅回憶 / Remembering Through Taste: One Bite at a Time
Best Connection, 2025
Ahme Park, (She, they, he)
35mm photography and digital manipulation
My 할아버지 (grandfather’s) four walls. His study was where I would sleep when visiting; the internet was the strongest there, and it stunk of old books and lacquer. It was there, where the bell rang every morning and night. Photographs taken from the last time his room and this house stood ~ now morphed and stitched together, forever. (I can still smell the lacquer.)
Best Connection
(Sand)castle, 2025
Ahme Park, (She, they, he)
Aluminium (lost wax cast)
Just as those who once inhabited castles believed themselves eternal, it must be acknowledged that this aluminum version may very well outlast its creator. The (Sand)castle, like a fungus, is designed to grow and adapt to any environment; in turn, the meaning of a “kingdom” evolves with it.
castle/AP_43_1_DSCF1454.jpg)
(Sand)castle
Firewood Stool, 2025
Oliver Sutherland, (He, him)
White ash wood and tung oil
La forme de ce tabouret vise à refléter les caractéristiques de la buche à partir duquel il a été fabriqué, trouvé au Champ des possibles au Mile End, ici à Montréal. Les entailles ont été coupées à la main, et la surface a été traitée au feu afin de la préserver.
Firewood Stool
Sandbox, altar for play, 2025
Gabriel Makinde, (He, him)
Baltic Birch, steel, bronze, textile and sand
Sandbox is a research-creation project examining the intersection of play and adult rituals. A steel box containing sand, set within the table and decorated with bronze castings, presents a careful composition. Its arrangement suggests traces of handling: any further movement would disturb the sand’s pattern and call for repair. The work becomes a study of habits—what we allow ourselves to disrupt, and how we place things back where they feel right.
Sandbox, altar for play
Sensing Circuits, 2025
Rebecca Acone, (She, her)
3D-printed PLA, LEDs, servo motors, photosensors, QT Py microcontrollers, and lamp
Sensing Circuits is an interactive work that explores how light and sensor-based interactions can build relational and affective experiences between humans and machines. Drawing on concepts from anthropomorphism and non-utilitarian Human-Machine Interaction, this work looks into how machines can appear “alive” or responsive, and how our response and relationship with them can evolve. The goal is not to give them intelligence but to explore new ways of relating to non-humans through behavioural feedback.
Sensing Circuits
OBELISK Table Lamp, 2024
Luke Sullivan, (He, him)
Wood and electronics
Crafted from locally-sourced White Ash, the OBELISK Table Lamp is made from trees infected by the Emerald Ash Borer. Designed for longevity, this solid wood lamp is built to last a lifetime. Every electronic and consumable part of the lamp is fully accessible for repair or replacement. Simply by lifting the shade, the LED fixture can be removed from the structure without tools.
OBELISK Table Lamp
Cognitive Behavioural Therapy Mask , 2025
Luke Sullivan, (He, him)
Steel
What are the ethical and moral boundaries we are willing to cross with the implementations of new technologies? Combining the historical concept of torture/shame masks, with the integration of new technologies that monitor brain behaviour. The concept of the CBT Mask is an extreme form of therapy, where when the user acts upon targeted behaviors, the screws on the mask set in closer to the wearer's face, providing physical incentive to change negative behaviors.
Cognitive Behavioural Therapy Mask
Halt! Machine: Models of Inefficiency, 2025
Tito Rocha, (He, him)
3D-printed PLA, printed cardstock, booklet, and sticker sheet
The hobby of model-making encodes values of productivity, order, patriotism, and power, while omitting the realities that complicate them: trains never broken down; soldiers are never wounded. Consumers are invited to play out fantasies of control and nostalgia. HALT! Machine: Models of Inefficiency is a fictitious line of alternative model kits where friction and struggle are what gets built. This first kit, Work Stoppage, offers a moment of rupture: the workers are in protest, the train set has no train.
Halt! Machine: Models of Inefficiency
In Translation 02, 2026
Hayako Henssen, (She, her)
Bioplastics
In Translation 02 explores memory and decay through bioplastic surfaces and family photographs. The work reflects on the gradual fading of memories over time by combining material exploration and personal imagery, the canvas is transformed as it shrinks, warps, and ages alongside the pictures it carries. The work emphasizes fragility, using bioplastics as a medium for storytelling and impermanence.
In Translation 02
1293 Grant St., 2025
Holly Loughton, (She, her)
Cardboard, nails, string, wood, scrap paper, old photos, and household items
This piece maps a non-linear timeline of my childhood home at 1293 Grant Street. Memories are traced through sewn images, knots, and gaps, reflecting the fragmented nature of recall. Faces blur, notes scatter, and chronology unravels, creating a network of connection rather than sequence. The string holds the story. It is messy, dissonant, and deeply personal, mirroring how memory exists as both time and place, never fully intact.
1293 Grant St.
<DIGITAL MEDIATION>, 202
Skyla Trousdale, (She, her, they)
Web
<DIGITAL MEDIATION> is a mediator of process. Universal mathematics, as seen in programmed Chladni patterns, points to a deeper permanence, an infinite structure underlying transient form. The digital space operates as a volatile archive, where content is continuously rewritten and presence exists only in the moment of interaction. Preservation is displaced onto the viewer, who may attempt to capture the work, but only as a fragment of something already gone.
<DIGITAL MEDIATION>
The Basement, 2024
Holly Loughton, (She, her)
JavaScript, microphone, and projector
Welcome to the library! Except, wait...where are all the books? Join our character on an immersive and interactive experience to hunt for classically banned books, and learn about censorship along the way. Entirely illustrated by hand, this interactive website aims to educate viewers on the history and ever-present issue of book banning and the importance of protecting the freedom to read.
The Basement
House of Cards / De maison en maison, 2025
Alexia McNicoll, (She, her)
Cardstock paper
House of Cards is a project based on the theme of oscillation. Moving several times throughout my life has presented me with numerous challenges, required adjustments, and caused significant stress. As someone deeply attached to the spaces I inhabit, this project reflects my connection to the places I’ve lived and the moments shared with the people who come and go.
House of Cards / De maison en maison
CYBERSKIN, 2025
Alex Bond (She, her) and Aalok Sud (He, him)
Micro Controller: Bend sensors, Gyrometer, Resistors, Adafruit Flora / Glove Design: Locally sourced Cotton, Recycled bead embellishments, Recycled thread / Software/Tech: Max MSP, FluCoMa, Rave, Touch designer
A wearable statement piece and installation that challenges the symbiosis of data and materiality. Merging software and tactile interaction, the audio-visual installation creates a new relationship and environment for the user where they interact with sound through fabric. CYBERSKIN introduces agency to the user in a medium where the limitations of interaction are usually strict. The exposed electronics display the cyborg and post-human nature of the piece. Our project logs the intricate details and motions that are often lost through our day-to-day experience.
CYBERSKIN
Space &, 2025
William McMurray, (He, him)
Acetate prints
Through this project, I am looking at what constitutes space, in relation to other words and notions. Space is such an expansive concept in just five letters. It has seven definitions and interpretations, whether the stars, a room or a simple “ ” are all spaces. This definition gets complicated once more ideas are added through the coveted ‘&’. I created seven poster pairs that come together to define the concept through visuals.
Space &
Ilah Lamp, 2025
Quincy Higgins, (He, him)
Aluminum and acrylic
The Ilah Lamp is a standing floor lamp featuring slotted aluminum construction adorned with frosted acrylic shades and a red nylon cord. Designed for disassembly and flat-pack logistics.
Ilah Lamp
Biomorphic Modular Lamp, 2026
Gabriel Della Rocca, Damian Larice and Nico Butel-Marchildon, (He, him)
LED and 3D print
This work explores neurobiology through a modular sculptural lamp inspired by voltage-gated ion channels - proteins that regulate electrical signals and shape emotion. A clear 3D-printed module abstracts it's biomorphic, brutalist form. Light passes only when aligned, enacting neural transmission and threshold activation. Engagement becomes essential. The piece reflects on feeling itself, where curiosity and perception emerge from the same molecular structures the work both represents and activates.
Biomorphic Modular Lamp
In The Pines: Reflections on de/reforestation in British Columbia, 2026
Jaya Guibert, (She, her)
Print based and cotton paper
In The Pines: Reflections on de/reforestation in British Columbia explores the province's industry towns, specifically in the Elk Valley, through personal photographs, stories, and archival research. Functioning as both a personal archive and a broader commentary on resource extraction, environmental change, and rural identity. Informed by firsthand experience in reforestation, the book combines personal film photography, mapping, and note-taking, drawing inspiration from old field guides and outdoor magazines to invite others into an ongoing curiosity about the province’s landscapes.
In The Pines: Reflections on de/reforestation in British Columbia
An Act of Care, 2026
Rebecca Acone, (She, her)
Canvas and electronic components (buttons, lilypad coin cell, conductive thread, LEDs)
An Act of Care is an interactive zine that touches on the topic of attention as a form of devotion, inspired by poet Mary Oliver, and the practice of observation. Small points of light illuminate specific areas of selected images with the intention of guiding the viewer’s gaze, creating an intimate encounter. The fabrication process and final work emphasize that attention is an embodied practice. It’s an action that requires care, time, and presence.
An Act of Care
[silence] - le son de l’hiver, 2024
Thaïs Lavoie, (She, her)
210 gsm paper, fake fur, cotton, wheatpaste, cotton thread, and vellum
[silence] - le son de l’hiver is a book revolving around the theme of winter, but especially the silence that this season offers. The snow carpet that covers the environment attenuates sounds and acts as a generalized acoustic panel. This soothing silence struck me when I left for the north towards Abitibi and stopped at my grandparents' cottage, at the Baskatong Reservoir. Before the immensity of sleeping nature, the idea for this book came to me.
[silence] - le son de l’hiver
Canadensis, 2025
Matthew Mancini (He, him), Zo Kopyna (they, them), Panos Michalakopoulos (he, him), and Laurel Tillier (she, her)
Cotton and wood
Canadensis explores the impact of beavers on Canadian ecosystems and cultural iconography. Inspired by the coureur de bois and mid-century military dam-building projects, Canadensis uses colonial aesthetics to reinterpret colonial narratives. This three-piece project comprises a bag emblematic of French-Canadian fur traders; an eco-dye swatchbook to trade knowledge rather than engage in extractive practices; and a military-inspired jacket that subverts the complex environmental impact with symbols of the original dam builder, whose impact co-creates rather than disrupts.
Canadensis
The Olympic Seat Fragment , 2026
Daphne Siracusa and ANK, (She, her)
Teflon-coated fibreglass tarp, aluminum pipes, galvanized steel elbows, galvanized steel straight tees, and buttons
The structure is made of recycled aluminum pipes connected by galvanized steel fittings. The fabric, sourced from the roofing structure of Montreal's Olympic Stadium, is a teflon-coated fibreglass membrane lined with muslin cotton. The chair translates the stadium’s structural language into a smaller scale by combining an exposed rigid frame with a tensioned membrane. Like the stadium, it contrasts a solid, industrial structure with a stretched membrane surface. This seat holds a fragment of the Olympic Stadium’s roof in tension, continuing its structural role.
The Olympic Seat Fragment
Intra, 2026
Claire Lamarre-Niemi, (She, her)
Aluminium square tubing, steel threaded rods, rubber bands, and various hardware (wire rope clips, thumbscrews, bolts)
The act of collecting comes from a desire to acquire, organize, archive, and commemorate, yet art publications often become forgotten once closed. Intra is a modular wall display that highlights their content rather than only the spine, making them more visible and integrated into daily life. The display can be customized to one's collection. Publications are held open with rubber bands and mounted through detachable U-bolts for easy installation. By reimagining the magazine rack, Intra extends the life, value, and use of art publications.
Intra
Untitled, 2025
Emet Marrale, (He, him)
Mixed media, digital photography, collage, video art, digital painting, and graphite
Photo collages made into videos, each exploring real-life themes. These three videos try at: ideas of ideas, meaninglessness, doubt, giving up, distance, care, distance in closeness, self value, circumstance, and victimhood.
Untitled
Eau-Cycle, 2026
Alyssa Durdey (she, her) and Nicholas Leduc (he, him)
Teflon-coated fibreglass tarp and aluminium
Eau-Cycle repurposes the retired roofing from Montreal’s Olympic Stadium into modular planters supported by stackable aluminum frames. The folded roofing material becomes a durable, weather-resistant pot that can form a single planter or a multi-level vertical garden for compact urban spaces. A gravity-fed drainage system passes excess water downward, with the final frame storing runoff or rainwater for reuse. This design system reduces water waste, supports urban gardening, and gives historic material a new life-nurturing purpose.
Eau-Cycle
Tension Tent Series, 2026
Caome Aggus (she, her), Oliver Sutherland (he, him) and Findlay Starritt (he,him)
Teflon-coated fibreglass tarp, PLA 3D-printed joinery, and stainless steel 1/4 inch pipes
Ambient lighting made of steel rods joined with PLA brackets and covered by simple geometric shades. The shade material is a unique technical fabric made of teflon-coated fibreglass, originally used in the roofing structure of Montreal's Olympic Stadium. These lamps make use of the inherent tensile strength and opalescence of the fabric while taking cues from the geometry and finishings of camping tents.
