[5] The work of Patkau Architects has been widely disseminated, with three volumes devoted to the firm's output, several essays in scholarly publications, and inclusion in international exhibitions.

[10][11] The firm's work has been noted for drawing on the principles of modern architecture that is also inspired by the natural setting and traditions of Canada's West Coast and the Pacific Northwest.

[12][13] Patkau Architects draw inspiration from the natural environment and are currently pushing the limitations of wood in architecture.

[15] Architectural historian-theorist Kenneth Frampton has described the firm's work as "very close to what I attempted to define in 1983 as Critical Regionalism.

[17] The design is hoping to create precedent for future mass timber construction as the zoning for height restrictions of tall wood buildings is being challenged in order to complete the project.

[21] For the redesign, in order to bring nature and the sacred into the temple as much as possible, Patkau Architects created "portals of light"[15] that extend from the oculus at the top throughout the entire height of the space.

The form is made up of complex, petal-like shapes and was accomplished by fabricating panels off-site to be assembled together on the building site.

The shape of the house was designed based on the size and height restrictions of the area, as well as the need to shed snow off the roof.

The essay catalogs an exhibition that the University of British Columbia's Fine Arts Gallery held in late 1990.

[31] Brian Carter wrote the book Patkau Architects: Selected Projects 1983-1994[32] which was published in 1994 and highlights their earlier works.