Ernest Bisgrove_Portfolio

ERNEST BISGROVE

ARCHITECTURE PORTFOLIO

CONTENTS

CV

Ernest Bisgrove

RL

Reference Letters

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HISTORY

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Baroque Cellere

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CONTEXT

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Sabina Rpbw

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DESIGN

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Refugees Libeskind

ERNEST BISGROVE Via Francesco Siacci, Rome, 00197, Italy +39 3295750770 ernest.bisgrove@gmail.com

Personal statement I am a recently graduated Architect. My educational and work experiences are listed opposite. With this Portfolio I show you some of my work, especially those dealing with history, context and design.

I believe that architects today have to have an excellent understanding of the historical and social context as well as an intuitive understanding of the intricate value of location. The design should deal with all of these aspects, be inspired by them and never overshadow them.

Through my studies and travels, I have developed an in-depth understanding of how people use space and an ability to develop designs that realise potential. It is important to realize how people are influenced by the location and the identity they have developed because of it. I believe my strongest skills are particularly related to urban historical environments.

I have a wide skill set across a number of computer based programs which I am constantly seeking to improve, though most of my work begins with basic model making and with a strong focus on simple drawings to capture ideas, moments and experiences. The process of sketching to modelling (digitally or physically) to representation is one that has become ingrained in my design philosophy and has served me well in exploring the infinite possibilities of architecture.

CV Professional experience May. 2017 - Sept. 2017 Curator, Exibition: The historical rural landscape of the Sabina Region, Museum of Magliano Sabina Feb. 2016 - May. 2016 Internship, Studio Libeskind Milano May 2015 Collaborator, Biennale dello Spazio Pubblico, Università di RomaTre Sept. 2013 - Dic. 2013 Internship, Renzo Piano Building Workshop, Genoa

Education and training Oct. 2014 - Mar. 2017 Master Degree in Architecture, Università degli Studi di Roma Tre Oct. 2009 - Jul. 2013 Bachelor Degree in Architecture, Università degli Studi di RomaTre

Computer skills and softwares

Languages

Microsoft Office Excel Microsoft Office PowerPoint Microsoft Office Word

Italian English Spanish

Photoshop Illustrator In Design Autodesk Autocad Sketch Up Rinoceros

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Year 2014 Type Study Course Location Trastevere, Rome, Italy Where Università degli Studi di Roma Tre Intervention Façade Reconstruction Responsible Antonio Pugliano Team Ernest Bisgrove, Laura Lopez

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BAROQUE The church of Santa Maria della Luce is one of the first churches of Rome, originally named San Salvatore in Lauro, in the area known as Trastevere.

This church, unlike others in Rome, has an unfinished façade, left at the stage called “rustico”.

Our task was to create the façade in the manner of the architect Gabriele Valvassori, a student of the great Baroque master Borromini.

To do so, we had to study the many historical phases reflected in the costruction carried out through the centuries to get a better understanding of the original composition and of the construction procedure.

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Evolution The first traces of the church appear during the VIII century. The church evolved adapting to transitions in the district in which it is located.

As shown in the masterplan the interior of the church is not parallel to the movement of the road, this caused the architect Valvassori to create an unusual junction behind the faรงade.

Masterplan

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VIII cent.

XI cent.

XII cent.

XVII cent.

XIX cent.

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Composition The project of the new faรงade is based on the existing Baroque churches of Rome and their intricate elements as shown in the sketches.

Facade tripartition

Architrave

Colomns

Prominent elements

Spirals

Concavity

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Construction The project of the new faรงade requires punctures in strategic points. In the holes created will be inserted stone blocks, which will hold new prominent elements as headers and arches.

Step 1: Stone blocks are inserted in the holes of the existing wall to hold the new faรงade.

Step 2: After the blocks are inserted, columns made of bricks are raised and then plastered over as was the process in Baroque times.

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Step 3: Brick heads are inserted between the stones and afterwards they will be shaped to create the ceiling molding

Step 4: Finally the construcion of the portal. The prominent elements and headers are made of bricks and held in place by stone blocks.

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Construction The second level is finished using the same procedure. The new faรงade with minute intervention is uniform to the Baroque style using the techniques of the XVII century.

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Year 2013 Type Study Course Location Cellere, Italy Where Università degli Studi di Roma Tre Intervention Restoration Responsible Michele Zampilli Team Ernest Bisgrove, Gaia Canè, Roberto Ricci

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CELLERE Cellere is a little village of Tuscia, a particular area in central Italy known for its wilderness due to its complicated morphological and geological terrain.

The class was divided into groups to explore, measure and analize the city, and to develope a project of restoration of the faรงades.

In particular, our group was assigned a block that developed during the XVI century when the town was ruled by the Farnese family, and was at its height of splendor.

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Evolution The settlement of Cellere has its roots in Etruscan times, but the implant of the modern village developed during the Middle Ages and continuing to evolve until the XIX century.

IX cent.

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XII cent.

XIV cent.

XVI cent.

XVIII cent.

To understand the evolution of our block we superimposed the existing configuration over the papal cadastral map of 1816.

We discoverd there were three different tipologies of houses and the order in which they developed

Palace

Multicellular Unit

Monocellular Unit on two floors

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Wall Typologies In the block we found nine different construction wall typologies. Most were found to be in bad condition and some had to be strenghtened using spurs built in the last century.

1) quarry work

2) site work

3) wall elements

b

a

a

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c

d

b

cd

e

e

f

f

g

g

h

h

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Measure Survey With the measurments taken during the week on the project site we produced many drawings, plans, sections and assonometries.

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Project The intervention focused on the removal of the accressions, on the reintegration of part of the walls and on a color plan for the faรงades for the principal street and secondary street.

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Year 2017 Type Thesis Location Sabina Region, Italy Where UniversitĂ degli Studi di Roma Tre Intervention Landscape Requalification Responsible Elisabetta Pallottino Team Ernest Bisgrove, Antonino Cotugno

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SABINA The image chosen as cover of this project is the “Burst Bridge� of Andras Marko, an Italian-Austrian artist that during the Grand Tour created many landscapes of central Italy including Sabina.

The area examined is a sector in the north of the region of Lazio confining with Umbria. In the territory of 440 km resides a population of 44.000 people. The southern border is 40 km from Rome, in a strategic intersection of the highway, and important state road-Salaria, the railway system Orte-Fiumicino Airport and the Tiber river.

The work started with a visit to the region (residing there for three months) living and associating with the local inhabitants. Through field studies together with research utilizing books about the region we captured the identity and essence of the area.

Our task was to communicate what we discovered, provide strategies for utilizing in a better way what was in existence.

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Morphology The morphology of the area is composed of three systems: the valley of the Tiber river, the gentle hills and the Sabin mountains. These areas are all connected by the tributaries of the Tiber river.

These little streams once were important rivers that strongly influenced local identity and culture together with Mount Soratte that dominates the valley from the other side, as seen in the poetry of Virgil.

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level

hilly

mountain

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Analysis Our initial analysis started from the study of local history, politics and the system of roads that crossed throughout the area. It made us understand the important transformations that occurred in the area through the centuries.

One of these transformations is reproduced here on the right. The information provided is then synthesized here below.

Middle ages_ X cent.

Middle ages_ XIV cent.

Middle ages_ XVI cent.

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Landscapes From history we understood the importance of the tributaries of the Tiber, in particular the Farfa.

They cross the entire territory and encounter the varying historical landscapes and most of the archeological remains.

Archeological remains

Land formation

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Project The analysis took us along the river Farfa.

We identified four different cultural landscapes on the river and the sorrounding territory.

For each one we have a strategy of evaluation and an intervention.

THE NATURE OF THE TIBER VALLEY [evocation of ancient populations in a naturalistic context]

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THE RIVER AND THE EXPLOIT [The integration of the indus

TATION OF THE TERRITORY strial testimonies in the agricultural landscape]

THE ABBEY OF FARFA AND SABINA [Tracks and testimonies]

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Project This cultural landscape is characterized by small agricultural settlements each one distant two hours by foot from each other. These were mostly abandoned and this abandonment affected the land.

Our proposal is to evaluate connecting routes to the settlements regaining lost structures along the roads, such as the little church on the left insert.

THE VILLAGES AND THE GORGES OF FARFA [The settlement typologies, agricultural production and historical me

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mory]

Site location

Intervention on the church

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Year 2013 Type Internship Location Sesto San Giovanni, Milan, Italy Studio Rpbw,Genoa Intervention Urban redevelopment Responsible Giorgio Grandi, Susanna Scarabicchi Team Eddie Milson, Daniele Piano, Clement Rachet

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RPBW

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The Site During the internship I collaborated with the design team on the elaboration of the redevelopment of the abandoned area of Sesto San Giovanni, in the suburbs of Milan.

Location

Masterplan of phase one

In red phase one

Sesto FS

FS MM

Sesto Rondò MM

Sesto Marelli MM

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The Past The area was a former steel factory, and evidence of the past are still strongly visible today The new project deals with them finding new functions for old factories.

“The mission of architectu save the suburbs. If we fa not just urban, b Renzo

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ure in this century is to ail, it will be a disaster, but also social�

Piano

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The New District In the new area, residences will be constructed. To arrive at the shape of the new district I made several study models, as well as the creation of a large scale transformable model to recreate the various options.

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The red building, a museum, is positioned to close off the area and capture the attention of the pedestrian leaving the train station on the opposite side of the road.

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Sections The section below makes us undestand the relationship of the new buildings to the existing factories and the scale of the project.

North section

South section

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Year 2016 Type Study Course Location Rome, Italy Where UniversitĂ degli Studi di Roma Tre Intervention Residences for Refugees Responsible Marco Burrascano Team Ernest Bisgrove

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Refugees The idea of this project arose from the emergencies of the modern world: in Italy from the overflow of immigrant populations crossing the Mediterranean Sea. The idea is to create a space in which it would be possible to house war and ecomonic refugees.

Other than the creation of private spaces it was important to create public spaces in relationship to the city and to avoid the creation of a ghetto.

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The Site The site selected is extremely close to the ancient church of San Saba. It was chosen as there already existed a small community of refugees who had been accomodated by the church.

We decided to approach this problem with a green system separating the church from the community under development.

Three rectangular buildings were designed, connected by roof gardens, creating a system of piazzas accessible by ramps.

The central piazza has a more private enviroment while the other two focus on the city including a library and a soccer field.

Section map CC A

A' A’

B B

B' B’

C’ C' 49

The green system

The piazzas

1

The buildings

The roof gardens

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Private Space

Level 0

Level 1

Secion AA’

Section BB’

Sezione AA'

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Public Space in these street level views we see the buildig that holds the library facing the main road and the piazza behind it. In the section below we see the relationship between the public spaces.

View from the street (1)

Secion CC’

Sezione CC'

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CC A

A' A’

B B

B' B’ 2

C’ C'

1

View of the lower piazza (2)

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Year 2016 Type Internship Location Rome, Italy Where Libeskind Studio Milan Intervention Business park Responsible Agostino Ghirardelli Team Marco Neri, Victor Alaveda, Ernest Bisgrove

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LIBESKIND During this internship I had the opportunity to be involved in many projects, but in particular the Trilogy project in Rome.

The business park is part of a larger master plan conceived by Studio Libeskind in collaboration with Meis Studio. The masterplan envisions a round-the-clock, sustainable, urban district linked to the historic center of Rome.

The design for the business park features three towers that stand in close volumetric relationship—seemingly cut from one stone block. The volumes fit into each other like antique building blocks creating a composition of elements that are connected.

The towers are arranged in a triangular formation, with a 3,000 sq-meter colonnaded public piazza, landscaped with a verdant garden and reflecting pools.

My focuse was on the piazza, creating many study models and working on the composition of the design of the columns.

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The Site The three towers, facing the stadium, close to the river Tiber, vary in heights up to 220 meters, emerge from a three-story podium with a rooftop garden; and at street level provide amenities such as cafes and shopping.

View of the Towers

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View of

the piazza

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The Piazza The piazza is sorrounded by the podium of the towers. The relationship of these podiums to the open space is articulated by the columns. To undestand it better I was commissioned to create a model of the angle of podium 1.

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Angle of podium 1

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The Columns To take a better look at the relationship between the columns and the piazza, I was assigned the creation of the model of podium 1, size of 0.65x 1.60m in scale 1:200. During its creation it I improved a great deal my modeling skills utilizing a laser cut machine, and was able to create my model in 5 days.

Podium 1

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ERNEST BISGROVE ARCHITECTURE PORTFOLIO