PORTFOLIO

OF WORKS

2008–2015

EMMANUELLE

SAINTE

CAMBRIDGE

SPA

2013

Osmosis involves the movement of fluid molecules through a semi-permeable membrane. It is an experience of filtration, as molecules move from areas of high to areas of lower density. The Cambridge Spa project is about the filtration of people, and of light. As one moves through the spa, crossing bands of program that act as filters, one moves into an experience of deeper and deeper solitude, or greater and greater collectivity.

The seed for the project was drawn from spaces of contemplation. Precedents such as mosaic clad Turkish baths, with a central oculus serving as the only lighting, or naturally

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1 MOVEMENT STUDIO2 WORKSHOP3 CAFE

4 RECEPTION5 OPEN OFFICE6 WASHROOM7 STORAGE8 CHANGE ROOMS9 ENCLOSED OFFICE

10 SOLARIUM11 REFLECTING POOL12 COVERED PORCH

13 TREATMENT ROOMS14 SAUNA (2)15 PLUNGE POOL

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The spa, located in central Cambridge, is arranged according to different bands of programs. These allow the user to experience different levels of introspection and solitude through the modulation of light filtering into the space.

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occurring caves, in which a single shaft of sunlight cuts through the stone, set the tone for the experience of being in the building; relying on light and scale of spaces to inform one’s sense of separation from the outside world.

The narrative of light entering the space follows the same flow as people, with the building filtering sunlight, plunging one into deeper darkness as one progresses northward through the site. The bands of program are informed by the amount of light, ranging from the collective experiences of movement studios, workshops and cafes, to solitary stays in treatment rooms, or the ` of the sauna.

Each band is a solid, punctured by a void that feeds into the circulation path, and encourages the process of filtration. The building is divided by a central courtyard that functions outside this narrative, where shade is provided by leafy trees and the high enclosing walls in the summer, while the naked branches let in the high winter sun, later in the year.

The spa’s form is defined by a series of nested concrete “shells” resulting

above: The morphology of the spa is derived to take advantage of the southern exposure on the site. The spaces requiring the most light are arranged at the southern end, and stacked by diminishing lighting going northward. Spaces are then pushed and pulled horizontally to create glimpses and views of the outside, and vertically to create the modulation of light. The height of the spaces help promote the stack effect. below: The concrete “shells” also serve as a conduit to collect rainwater onsite.

above: Construction sequence of concrete structure showing poured-in-place and precast components. above right: Section through north wall of men’s changeroom.right: View outside change-rooms, towards reception.

CONCRETE STRUCTURE

FOUNDATION WALLS AND FOOTINGS

SLAB ON GRADE

BEARING WALLS

SHEAR WALLS

PRECAST ROOF COMPONENTS

in clerestories, allowing sunlight to penetrate deeper into the building. The shells, as well as the bands of program themselves, are of different widths. The pushing and pulling of these shells that happens laterally as well as vertically, allows the maximum of program to have a direct exposure to passive solar gains.

The building was oriented to make maximum use of southern exposure. South facing spaces, that are shaded in the summer by the overhangs inherent to the morphology of the building, are open to solar heat gain in the winter through the strategic positioning of the glazing.

The structure itself is a combination of precast and poured in place concrete. The foundation, bearing walls and shear walls would be poured on site, while the bent section roof component would be precast,

and brought to the site. The concrete construction creates a high thermal mass, which slowly distributes solar gains throughout the day. The exterior walls are heavily insulated to keep the heat gain within the building when it is needed. The glass used in the north, east and west facing windows would have the lowest solar heat gain coefficient, of 0.3 or less, while the south facing glass would have the highest in order to better transmit the heat from the sun.

The clerestory system helps to flush

opposite: View into main Movement Studio. above: View of cafe and reception. These collective spaces are the lightest and airiest of the experience spectrum.

directly above: East elevation. The concrete shells are clad in rough textured metal panel that echoes the feel of the concrete beneath.

out excess heat when necessary, the different heights within the building promoting the stack effect. The system of nested shells also lends itself to the harnessing of solar energy, as the south facing slopes of the different roofs can accommodate flat plate solar thermal panels.

left: Interior view of sauna. below: Central courtyard with covered porch and reflecting pool. This private space is shaded in the summer by the low sun angle and the leafy trees, and receives more light in the winter when the trees are bare and the sun higher in the sky.

opposite: North and south elevation. Transluscent channel glass is used to further modulate the amount of light flitering into the building. above, both pages: Longitudinal sections, showing

the alternating arrangement of the concrete shells. below: View inside women’s changeroom. This neutral, temperately lit space can be contrasted with the obscurity of the sauna pictured opposite.

ROME

LIBRARY

2013

The Ostiense neighbourhood in Rome is situated in south-central Rome, just outside the ruins of the Aurelian Wall, and bordered to the west by the river Tiber. Via Ostiense is its main artery, running from the ancient Porta San Paolo, to the Basilica San Paolo fuori le mura, was a part of the historical network of roads connecting the Tyrrhenian sea and Adriatic sea for the salt trade (known as the Via Salaria).

Ostiense became, at the turn of the twentieth century, an important

above, left: Map of masterplan showing nodes along Ostiense serving as thresholds towards the river, as well as areas of development, which include (1)river park (2) urban park (3) shopping complex & parking (4) cultural strip (5)student residences (6) Roma 3 university. above: views from nodes along Ostiense.

industrial area in Rome, home to the first electric power station – the Centrale Montemartini – a gasometer, and several factories.

But in the present day, as industry is relegated to areas further outside the city, and pressure from tourism and other activities grow, the project

brief called for the re-envisioning of the area immediately surrounding Via Ostiense. The Centrale Montemartini is no longer in use, and now partially serves as an off-site branch of the Capitoline Museum, housing a part of its extensive sculpture collection. Roma III University has campuses nearby, spurring a growing cultural and nightlife scene, and the train and metro connections mean that traffic due to tourism will continue to grow.

The first part of this project entailed the development of a masterplan for the revitalization of Via Ostiense. Working in a team of two, a plan was created that drew upon the history of Via Ostiense as a route towards the sea, and aimed as the central idea, to

The library is seen as the final node, creating a direct link between the street and the Tiber River. The program within the space is arranged such that they reflect the atmosphere of each of these. ie - the rectilinear and rigid arrangement of spaces next to the street, and fluid and flexible use of the riverside spaces.

reconnect the street with the water. The plan has three steps – first to reclaim Via Ostiense for the pedestrian, and to decrease the importance of the automobile. To this aim, different interventions were imagined, including the introduction of different materials that would bring the street back to a human scale, the introduction of bicycle lanes, and the creation of different “nodes” along the street that would serve as points of collection, of pause, and would invite the idea of slow movement through the area instead of fast travel from one place to another. The second is the refurbishing of existing side streets and openings, to create paths connecting the nodes

on the Via Ostiense to the River Tiber. Thirdly, different programs would be introduced to existing sites to promote pedestrian circulation and cultural activity. Specifically, the creation of an urban park on the site of the decommissioned gasometer, new housing for faculty and students at Roma III, a new shopping complex, and a library.

The library was the focus of the second part of this term project. Situated on a narrow site at a point where the river Tiber bends towards Ostiense’s arterial road, it is the culmination point of the masterplan for the revitalization of the area. It serves as the final bridge from the road to the Tiber.

A cantilevered box stretching out over the river, the building is to be an icon on the east bank of the river, the connection between the natural water’s edge, and the rectilineal street. The library is raised from the ground floor, to encourage circulation

above: The bookcases within the library space work as columns that stiffen the structure provided by the thickened floor slabs.

opposite, above: Longitudinal sections through library building, showing how it hovers above the river. opposite: View from top floor cafe over adjacent piazza.

throughout the site, and to protect it against the highest Tiber flooding levels. The main collection is housed over two floors, along with auxiliary program such as a computer centre, media centre, and café. Alternating bookcase stacks double as the internal structural support system. From the second floor, a roof terrace is accessible, which serves as a belvedere, looking out over southern Rome, and local streetlife.

1. COMMON WORKSPACE2. FICTION3. NON-FICTION4. COMPUTER/AUDIOVISUAL5. NEWSPAPER/MAGAZINES6. READING7. QUIET STUDY

1. CHILDREN’S LIBRARY2. BOOK RETURN/SORTING3. LOBBY

1. GROUP WORK2. OPEN/ FLEX SPACE3. NON-FICTION4. MEDIA5. ADMIN6. OUTDOOR TERRACE7. CAFE

above: View from rooftop terrace, over urban aspect. left: Plan of rooftop terrace. left, below: Diagram showing program division between river end of library and street end. Activities that invite interaction and play are organised with a view towards the river, while service-based or information gathering actions are clustered around Ostiense.

opposite, above: Groundfloor plan. The footprint on the ground is pulled back to provide access to the “cultural strip” further up on the masterplan, which includes opposite: Second and third floor plans.

MCQUEEN

CHAIR

2011

A chair, inspired by the works of the house of Alexander McQueen, was created and built as a collaboration between another student and myself, as part of a structural design course. The project required us to build a chair that incorporated movement in some form. The chair seeks to incorporate the natural elements that influenced much of Mcqueen’s work, as well as the play between smooth tailored lines and organic movement present in many of his designs.

Constructed out of five sheets of birch veneer plywood, the form for the chair started out as a series of hand carved foam models. The model was then photographed at 360º angles, and fed into Rhinoceros 3D, a modeling software which allowed us

above: Individual plywood layers extracted from the three-dimensional model, and cut with the aid of a CNC router. above, left: Construction of the chair, and original blue foam model used to create an accurate computer model of the organic fluid form.

Design Manifesto

From baren shoreswe will set forthto be rocked by a seaof luminescent reflections

Nestled within an open shellgently cupped insideits silky, shallow recesswe will reach beyond ourselvesand the confines of oursimple fragile bodies

In search of the harmonyhidden in contradictionfinding in balancea strange and transient beauty

to extrapolate a total of forty profiles at regular intervals. The profiles were cut out of each sheet of plywood with the help of a CNC router.

Based on the idea of idea of a shell, drawn directly from McQueen’s designs, the chair has a smoothly sanded fluid upper surface, while the bottom is rugged and uneven. This means that instead of rocking

smoothly, there are several small tipping points, which leaves one in a state of delicate balance.

As a nod to the element of whimsy behind the fashion designer’s creations, the interior of the hollow chair was lined in golden feathers, tucked away like a secret inside the wooden form.

The chair was then analysed mathematically, to determine reactions between the chair and a surface, and the reactions within the chair itself, when not in use, and when occupied by a person in different configurations.

PROTEUS

MOVES

2011

Proteus Moves was a term-long exploration of movement, form and materiality. Divided into a series of small projects, its aim was to dissect a natural phenomenon, and translate it into a language of architecture and spaces.

The first of these was the selection of a subject. My chosen phenomenon was the eruption of a volcano ash cloud. The particular focus was on the moment at which the grey cloud of smoke, ash and rock particulate bursts through the innocuous white of a cloud composed of water vapour. The violence with which the ash punctures the water vapour, and the resulting swirl and mingle of the two colours were two aspects which would then be translated into a model.

The next step was an experimentation of different materials and ways of altering their shape: folding, building, melting, etc. The interaction of each material with light was carefully

The ash seems to fly out of the mouth of the erupting volcano. It ebbs and swirls, moving like a creature from the deep, rising, settling, and bursting through its own skin. It transforms, changes colours, presents two faces to the world like two sides of a same coin.

The two materials intertwine, each conveying its own quality, these working together to create the whole. It is the conversation between the lightness, and upward expansion, and the angry surge from within that erupts suddenly, disturbing the outward appearance of calm.

considered – how light fell across it, its transparency/opacity, etc.

To best represent the two charac-teristics I was trying to get across, a combination of two different materi-als was reached – one to represent the quiet bubbling vapour cloud, and one of the violent gray ash cloud. These were intertwined to form a first physi-cal model, where the story unfolded as the model was rotated. On one site a smooth foam-like plastic, or the other a hard clear molded plastic emerges from within.

This first interpretive model was lit from within, and by exploring its shape in the round, one could begin to discern the narrative of the explosion. The next step in the process was to invert the relationship between material, light and space, and create a model where when viewed from within, the story would be told by the changing quality of light as it changed position in relation to the model.

The final stage is a synthesis of the two states, as the models are reinterpreted into inhabitable spaces, that can be inserted into the fabric of a city.

opposite: Experiential section imagining the constructed model as space and the procession of events within it. below: View of the model interior at different times of day as projected by a moving light source.

COLLEGE &

SPADINA

2011

College and Spadina in Toronto marks a point of intersection between several different neighbourhoods and cultures.To the south and west, bohemian and hipster-haven Kensington Market meets a bustling Chinatown. Harbord Village spills out into the northwest corner, and to the east, the University of Toronto’s campus blends into the fabric of an aging residential neighbourhood.

The aim of the project was to create a large urban building that would act both as an attractor for urban densification in the area, and as a coagulating agent in the fabric of the city, bringing people together and

above: Siteplan. Building is located at the intersection of College and Spadina in Toronto.

OFFICES

RESTAURANT

PERFORMANCE

GALLERY

LIVE/WORK UNITS

RETAIL

the podium is bisected by a central atrium, which brings light further into the building, but also serves as a less formal performance space to the auditorium above.

The retail spaces located at street level help draw the public into the building, while the central atrium invites them to explore the rest of the

inviting interaction and spontaneous experience.

The building combines multiple programs on the same site: retail, performance spaces, a gallery and live/work units, a restaurant, and offices. A tower on a podium, the building keeps the bulk of the program at a level close to the street, and at the same time, attempts to elevate the street to the sky.

Drawing on the tradition of Market Sundays in the nearby Kensington Market, where the entire street is enlivened by performances, and shops spill out onto the sidewalks,

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are integrated into the office tower, a means to create interesting views from within different workspaces, as well as to provide workers with a place of repose.

program. A sculptural staircase lines one side of the atrium, from which one can observe the theatre of public life occurring on the auditoria side of the building, or more intimately, the artists at work in their live/work units. The studio sides of the units run along the perimeter of the auditorium, while the artists’ living spaces face onto Spadina. The staircase culminates at the art gallery, a space lit from above.

Greenery is also drawn into the building by means of the atrium, and is repeated at different levels throughout the project. At the level of the restaurant, a roof garden is accessible, and also visible from the art gallery. Sky gardens

above: View from within interior garden in office tower. below: Sculptural staircase provides opportunity for pedestrians to observe artists at work in their studios as they make their way to the art gallery.

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PRODUCTIVE

LANDSCAPES

2010

Whitebelt. These lands are similar in appearance and current land-use to the lands in the Greenbelt, however are not subject to the same policies and regulations.

The site slated for development in this second year term project was the 4 km2 site surrounding the Brampton Flight Centre. The project was formulated around the idea of

The Greenbelt is a designated area in the southern part of the province of Ontario, that aims to protect prime agricultural land from the pressures of development and urbanization. Created in 2005, it completely surrounds the Greater Toronto Area. The space between the inner boundary of the Greenbelt and the outer boundary of the municipalities within the GTA is known as the

above: Diagram showing the creation of the recreational loop based on an existing imprint on the site. right: View from within apartment in development complex.

creating “productive landscapes” from Whitebelt sites, or developing these such that it served some productive function above providing housing and intensified densification.

The core of this project became about preserving the prime agricultural land that was already the major function of the site. The major intervention came

in the form of creating a designated recreational loop – this trail, based on the path traced on the site by an existing creek bed and natural tree-line, would be re-developed into a closed loop, and could ultimately be extended off-site to feed into the nearby Etobicoke Creek Trail. Different recreational programs would then be integrated at various

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points through the loop to encourage its use and circulation through the site.

The south-western edge of the site is currently separated from the larger block by an existing freight rail-line. The land thus isolated would be the ideal location for further development and densification.

The proposed development would take the form an structured urban grid, interrupted at intervals by “green corridors” that feed back into the recreational trail. This “carpet housing” morphology acts as an opportunity to interact with the landscape in different ways – forming courtyards that provide access and views, but also creating bridges over nature or slipping underneath a mantle of greenery.

URBAN GRID MEETS NATURAL LANDSCAPE

URBAN BRIDGES OVER LANDSCAPE

LANDSCAPE SLIPS OVER URBAN

CAMBRIDGE

HOTEL

2009

The hotel makes use of an L-shaped site in the heart of downtown Galt, Ontario. On one end of the site is Water St, where an imposing Guelph limestone building obstructs the view to the Grand River. Although it formerly housed the local post-office, at the time of this design the building had stood empty for several years. On the other end of the site, along Anslie St, was the bustling central bus terminal.

The design aims to bridge the gap between these two states, the busy and bustling city street, versus the quieter, less travelled riverside. The hotel, which combines a program of overnight accommodation, restaurant, and spa, was conceived as three separate buildings that line an open site.

The building closest to the river serves as the main entrance to the site, and houses the lobby and reservation desk, while the building at the opposite end is home to the restaurant. These

above: Siteplan, showing relationship between the three buildings on the site. The hotel component, housed in the two narrow buildings, invite guests and passers by alike to move through the site. below: North elevation, from within the adjacent square.

RESTAURANT/BAR

RESTAURANT TERRACE

GROUND FLOOR

THIRD FLOOR

YOGA STUDIO

RECEPTION

WASHROOM

WASHROOM

ADMINISTRATION/STORAGE

RECEPTION

LOBBY

FIRE ESCAPE

FIRE ESCAPE

FIRE ESCAPE

FIRE ESCAPE

POOL

ELEVATOR

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ELEVATOR

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LOUNGE

CHANGE ROOMS

through their entire length, and serves to orient one within the building and the site.

The spa occupies its own discrete corner of the site, and this is reflected in its design. Rather than being linear in plan and inviting a movement through, it spirals into itself, acting as a collector.

are oriented so as to give each of the rooms above a direct view of the public square below. The strongly linear arrangement of the two main buildings also serves to reinforce the idea of a progression through the site, minimizing the footprint of the buildings themselves, and allowing people to be drawn in and through.

This idea is paralleled in the buildings themselves by the medium of a solid stone wall element that runs

PRESENTATION

DRAWINGS

2014

Presentation drawings created for hospital project, while working at Stantec Architecture Ltd. While at Stantec, provided assistance on a number of projects and deadlines, however my main assignment was the retail team. I helped manage the design and execution of construction drawings for a large scale retail building.

THE STOP’S

NIGHTMARKET

2014

The Night Market is an annual fundraising event that brings together foodies, Toronto restaurants and designers to support The Stop Community Food Centre’s anti-hunger and anti-poverty program. The organization sends out an annual call to designers to conceive an original idea for a food cart.

The cart created by my team was inspired by the fact that most of the four members were avid cyclists. The emphasis on using recycled parts as building materials, and the intersection of cycling and food brought us to the idea of using “bull” heads formed by bike seats and dropped handle bars as a playful reference to hunting trophies, and various other bike parts in the making of the cart.

EMMANUELLE SAINTE4A CROXTED RD, LONDON SE218SW 07845808344 EJSAINTE@GMAIL.COM

CURICULUM

VITAE

2015

As an architecture graduate, working in different offices has made me familiar with adapting to different responsibilities in a fast paced environment.

My friendly and personable demeanor, strong work ethic, and my knowledge of French, helped me to successfully liaise with clients, building authorities, and suppliers.

I was instrumental, in my most recent work experience, in the coordination of the design of a large-scale retail project. Currently seeking a fresh challenge where I can apply my passion for art and design.

• Proficient in Adobe Indesign, Illustrator, Photoshop

• Proficient in Revit, AutoCAD and Sketchup.

• Extensive experience with the Microsoft Office Suite

• Fluent in French and English

University of Waterloo - 09/08–10/13Honours Bachelor in Architectural Studies, Co-op

St. Peter’s Catholic Secondary School - Graduated 07/08Ontario Secondary School Diploma• Honour Roll Student, and Ontario Scholar

RELEVANT SKILLS

EDUCATION

Invited to return upon completion of studies following work placement in Toronto, Canada office.

Organized the coordination of a team of architectural technologists and engineers to bring large retail store from inception to full construction document set using Revit.

Created graphics and diagrams using Adobe Illustrator, Photoshop, and used Microsoft PowerPoint to create presentations.

Translated full sets of drawings from English into French for building permit process, within aggressive, two-week timeframe.

WORK EXPERIENCE

09/13 –12/14DesignerStantec Architecture LTDToronto, Canada

06/11 – 08/11Facility AdministratorCB Richard EllisToronto, Canada

01/12 – 08/12Student DesignerStantec Architecture LTDToronto, Canada

Designed and implemented drawing management system as part of four-person team, which was later adopted across all Infrastructure Ontario properties managed by CBRE.

Tracked progress in Microsoft Excel. Ran weekly progress meetings and presentations to upper management.

Collaborated on the conversion of 39 stores accross Canada for major retail brand. Used Revit and AutoCAD to prepare construction documents.

Translated drawing sets from English into French for building permit process.

Prepared drawings and diagrams for presentations, created slideshow presentations, attended design devel-opment meetings for various projects, and carried out administrative duties.

Developed schematic proposal for relocation of a temporary tourist info-centre on Parliament Hill, in Ottawa, as part of the Long Term Vision and Plan for the restoration of the Parliamentary Precinct.

08/10 – 12/10Architectural AssistantGovernment of CanadaOttawa, Canada

02/10 – 04/10Architectural AssistantParkins ArchitectsToronto, Canada

Compiled and organized an electronic library of building details in Auto CAD, from the office project archive.