It all started at Laval University, where the four friends were studying architecture.

After graduating with a master’s degree, they all went in search of quite different work experience: residential, commercial, restaurant… they didn’t know it yet, but this diversity would become the signature of their firm, Ivy Studio.

While David (Kirouac) learned his hand at Sid Lee, Gabrielle (Rousseau) worked for Zébulon Perron, among others, while Guillaume (B Riel) worked with Pierre Thibault, explains Philip (Staszewski), who himself has residential experience with architect Laurent McComber.

After a few years on their own, during which they all moved from Quebec to Montreal, they founded Ivy Studio. The firm will soon celebrate its 5th anniversary, while they are only 32.

What they like the most: the diversity that characterizes their work, emphasizes Philip Staszewski. “We believe we are capable of taking on all kinds of projects. And it is really this variety that motivates us the most. We don’t want to lean towards a specific typology; in fact, on the contrary, we want to avoid that. »

For each contract, they try to identify what makes the customer’s identity unique, in order to highlight these aspects. The offices of Vention, a small tech company, are a good example. “Their product, blue, anodized extrusions, was so unique that we really wanted to emulate it,” says Philip. We created a kind of perforated steel envelope for the conference rooms, which looks a bit like the machines they produce. We really used their identity and their products to create their space. »

We find a bit the same principle for the offices of M.A.D. Collectif – formerly Groupe Sensation Mode -, which we know in particular for the Festival Mode Design. The white spaces speckled with mauve touches have been designed in the image of the organization, which works with creative people on many events, exhibitions… The place therefore takes on an evolving character. “Hence the idea of ​​using rough materials that express this ‘under construction’ side,” says Philip.

So that the result does not literally look like a construction site, however, special attention has been paid to detail and finish. “We wanted it to reflect their constantly evolving identity, but at the same time quite refined and professional,” he sums up.

More recently, their names were also seen at the unveiling of Pavilion MR-63 in Griffintown. Carried out with the architects of Rayside Labossière, the project is still embryonic, but ambitious. It will reuse the old metro cars of the same name, stacked on three floors, to create a place with a cultural vocation.

The first sod is planned for 2024. “When they contacted us, we said to ourselves that we had no choice and that we had to do what is necessary to be part of this project, because it’s too iconic for the city,” continues Philip.

Until the project comes to life, the firm continues to roll its bump. Their work has nevertheless already been noticed, notably at the Grands Prix du design last year, where they won eight awards, including that of the next generation. Far be it from them to brag about it. Nevertheless, this pushes them to continue, always further.