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Dieter Janssen is a Toronto-based registered architect with the OAA and member of the Royal Architectural Institute of Canada.
The work of DJA extends across a broad spectrum of collaborations with artists, cultural & private building types, furniture and lighting, photography, and teaching. His work has been exhibited and published in New York at the Henry Urbach Architecture Gallery, the American Academy of Arts & Letters, JFK Airport Terminal 4, the Eyebeam Atelier of New Media + Technology, New York Times Magazine, the Museum of Sex with Alex Schweder, and the Museum of Modern Art (permanent collection); in Berlin at the Magnus Müller Gallery; in Karlsruhe at the ZKM Center for Art and Media; at the 2002 Venice Biennale; in Seattle at Ester Claypool Gallery with Alex Schweder La; and in Toronto at Hart House Gallery, P|M Gallery, and Convenience Gallery.
Active recent projects range from a light fixture – X-Light – installed as part of the Toronto Design Offsite Festival, a set design for a recent production by the Dietrich Group entitled "This Is a Costume Drama" at Harbourfront Centre’s World Stage, as well as the new Lassonde School of Engineering at York University, and the new Vaughan Civic Centre Resource Library for ZAS Architects.
Award-winning past projects as a design lead, project manager or collaborator range from the Corning Museum of Glass, Pier 11 Ferry Terminal NYC, NYPD Museum along with several private residences (Smith-Miller + Hawkinson Architects); the Museum of Modern Art curtain-walls, Lehmann Maupin Gallery and Toledo Museum of Art, Glass Pavilion (Guy Nordenson and Associates Structural Engineers); the French River Visitors Center Exhibition (Baird Sampson Neuert Architects); the Terrence Donnelly Health Sciences Complex at the University of Toronto Mississauga (Kongats Architects); and the Steeles West and Finch West Subway Stations with Will Alsop.
With all these projects, Dieter has played a critical role in their development and realization. Whether a conversation between spaces and people stems from its use (programmatic or cultural), a phenomenon of the site (climate), a technological possibility (structure, material) or some other driver of desire – usually all of the above – these considerations all serve as opportunities for engaging social spaces with a meaningful level of intimacy.