Design For Culture

Design is an holistic endeavour. Whether with an individual artist, curator, advisory committee, or board of directors, we bring experience in listening (a quiet apprentice). Having a seat at the table alongside decision-makers early in the project planning process allows us to contribute in meaningful (and sometimes unexpected) ways to a project outcome. We bring an important perspective to facilitation, ideation, and visioning in the initial stages of project planning.

Installations, Exhibition Design, and Universal Access

With a background in architecture, we come with significant experience in environmental design. We offer expertise in space planning, lighting, acoustics, material selection, colour, accessible circulation and engagement. Accessibility is fundamental to all good design and provokes thinking that adds dimension to any project.

Content Creation and Digital Publishing

Is topicality the enemy of substance? What is the digital equivalent of the traditional printed exhibition catalogue? Do we wander astray in trying to find such equivalencies? These are questions that we ask ourselves constantly and seek to develop in concert with our clients as we continue to explore and innovate in this important domain of cultural practice.  We work with a trusted network of content creators and user experience (UX) consultants to create, evaluate and implement content to ensure that intended messages reach their target audiences in the most meaningful way.

Museums Without Walls:
Expanded Experiences

Inviting the public to experience and connect with a museum’s collection is at the very core of a collecting institution’s mandate. We work with your institution’s curatorial, collections, and conservation departments to build engaging interfaces which can in turn precipitate new opportunities for public engagement with your collection.

Museums With Walls

Goodweather has designed exhibitions for several major Canadian cultural institutions including The Vancouver Art Gallery, The Banff Centre for Arts and Creativity, The Canadian Centre for Architecture, The Royal Ontario Museum, The Mackenzie Art Gallery, and The Museum of Vancouver.

Film, Photography, and Documentary Material

Wether producing new content or working with archival material, we work with partners in film, photography and documentary, to develop audio-visual content for exhibition and other distribution.  

Printed Matter

Books remain a valid and incredibly valuable format in our time. Try finding and opening a file on your computer that is 10 years old. We love books (and posters, and pamphlets, and stationary... and who doesn’t? We design those too. 
Goodweather is a Canadian design studio specializing in work with cultural institutions, artists, and curators on projects related to contemporary art, museology, and public access to cultural material / material culture.  Collaborating with other talented creators, fabricators,  cultural workers,  practitioners and professionals, Goodweather has produced a diverse body of work bridging the disciplines of architecture, film and photography, and digital initiatives. Projects have been featured at the Vancouver Art Gallery, The Banff Centre for the Arts & Creativity, The Canadian Centre for Architecture (Montreal),  The Museum of Vancouver, Artspeak, 221A Artist Run Centre, Emily Carr University of Art + Design, and in publications such as Cabinet Magazine, (New York), *Wallpaper, Canadian Architect (Toronto), Pidgin Magazine (Princeton Architectural Press), and Front Magazine (Western Front Gallery).

Goodweather is directed by Michael Lis (M.Arch, MRAIC). Michael completed his Masters of Architecture at the University of British Columbia in 2011 after receiving a Bachelors of Environmental Design Studies at Dalhousie University in 2008. Prior to founding Goodweather, Michael pursued doctoral studies at the University of British Columbia in a unique stream of inter-departmental cooperation involving the School of Architecture and Landscape Architecture, the department of Art History and Visual Art, and the Critical and Curatorial Studies Program. 

Leonard Frank Files (Only through the camera can we truly see)

Exhibition Research
Digital Archive Development


Present intensity, historical reflection, seeing oneself see, whereness of place...

Not so long ago the camera was an arcane and specialized piece of optical equipment understood only by professionals and a few dedicated enthusiasts.  

But times have changed.

Recent estimates suggest that over 1.5 billion photographs are taken each day. Image capture, whether still image or video, has never been so ubiquitous, never so filtered, and never so hypertrophically overdetermined.  The camera as a technology has never been so pedestrian, so stealth, and so...small.

Social media platforms have enabled a parallel universe where a vertiginous matrix of continuously refreshed luminous, red,  green and blue scintillations lead to retinal overload, blurrrrrr. (Pixel utopioids. Optic overdose.)


Leonard Frank was active as a photographer between 1910–1944, travelling throughout British Columbia taking photographs of a vast array of subjects. The Vancouver Public Library holds a collection of over 7,000 pictures taken by Frank and as an archive these photographs retain tremendous artifact value, presenting a specific perspective of life in the province in those years.

Frank was particularly interested in photographing city scenes: buildings, bridges and waterfront, although he had a passion for nature and took some interesting photographs of mountains and forest. Born in Berne in 1870, the son of one of Germany's earliest professional photographers, at the age of twenty-two Frank was struck with gold fever and emigrated to San Francisco.  Two years later he relocated to (Port) Alberni on Vancouver Island intending to prospect for gold. Frank never discovered gold, but by chance, won a camera as a prize in a raffle contest. This fateful event set the course for a lifelong passion.

While managing a general store and continuing to prospect, Frank took pictures of his surroundings until photography became his chosen profession.

In 1917, Frank moved to Vancouver and quickly became a leading commercial / industrial photographer. Frank 's photographs form a unique document of Vancouver and British Columbia's history between the wars. Whether in the woods, shooting the activities of the lumber industry, or on Vancouver's waterfront, recording the contents of warehouses, Frank managed to produce photographs which not only included factual information, but in many instances captured candid human moments, arresting natural beauty, and abstract light effects that only through the camera can we truly see.

Building on the legacy of Leonard Frank, this project sets out to revisit the relationship between the local built environment and the image and to query the use of the camera as an instrument of acute and specific vision, a tool for ‘the seeing of a something’, and a documentary machine, that despite super mass media, can still hold our gaze still....

Small House Designs



Between 1947 and 1974 the Central Housing and Mortgage Corporation (CMHC) of Canada invited Canadian architects from across the country to produce high quality yet affordable house designs for a rapidly growing population. Beloved to many, what were once the childhood homes of the generation under 50, are now homes to their children.

In this project, we have set out to retrace and redouble the efforts of these earlier initiatives. At a moment when economic recession has dampened outlooks for young North Americans, the question of affordable housing seems to have been curiously divorced from issues of quality and adequacy, let alone function and beauty. As a response to this condition, we are 'renovating' a selection of small house designs from the 1958 CMHC catalogues in what is both a design exercise as well as an engaged form of research.

Camera Ubiquita

Autumn Editions

Printed Matter


From CCTV to personal mobile devices, there are cameras everywhere. The resultant condition is one of 'total witness' and technologically mediated omniscience. But there is no singular coherent intelligence that comprehends the ubiquitous capture, instead it is the very same heterogeneous multitude that is the subject and protagonist within the image. Camera Ubiquita attempts an exit from this tautology, changing the scale of capture to capture the image of ubiquitous image capture itself.