ERIC FRIES Selected Works 2016-2020
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“The city, however, does not tell its past, but contains it like the lines of a hand, written in the cor ners of the str eets, the gratings of the windows, the banisters of the steps, the antennae of the lightning r ods, the poles of the flags, ever y segment marked in tur n with scratches, indentations, scr olls.” Italo Calvino, Invisible Cities
“And almost at once I r ecognised the vision: it was Venice, of which my efforts to describe it and the supposed snapshots taken by my memor y had never told me anything , buvt which the sensation which I had once experienced as I stood upon two uneven stones in the baptister y of St Mark’s had, r ecur ring a moment ago, r estor ed to me complete with all the other sensations linked on that day to that particular sensation, all of which had been waiting in their place.” Marcel Pr oust, In Search of Lost Time
SELECTED WORKS
2016 - 2020
ACADEMIC WORK ELEVATED GROUND 2020 - New York, New York
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STRIATED RELIEF 2020 - Philadelphia, Pennsylvania
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TRESSIS 2019 - Philadelphia, Pennsylvania
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LLUM 2017 - Barcelona, Spain
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MALRAUX LIBRARY 2018 - Barcelona, Spain
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OPEN / ENCLOSED 2016 - Kickapoo State Park, Illinois
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PROFESSIONAL WORK PERKINS + WILL 2018 - 2019
FREEHAND DRAWINGS, PHOTOGRAPHY
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ELEVATED GROUND 2020
New York, NY
Individual pr oject; Arch 601; Critic: Gisela Baur mann
A series of housing towers is proposed above an existing shipping facility in Hudson Square, Manhattan; given this existing str ucture and the density of the sur rounding neighborhood, the project creates a new urban ground, accessible to the public, on the roof of the shipping facility. In order to achieve the required density of housing and overshadowing the public spaces which achieving scalar variety across the site, the heights of the five towers are car ved away with a cur ved, unifying gesture. Several 2
public program areas are accessible from the public roof areas as well as from the street level, with the residential areas located above. A publicly accessible, roof ter race/garden atop the highest tower helps ensure non-residents can also benefit from the site inter vention. Additionally, communal (semi-public) landscape areas are car ved out of the tower masses, providing residents with access to outdoor space and spatial variety beyond their own residences.
Program Diagram
Site Plan
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Public roof terrace
Semi-public exterior space (common space for residents) Semi-public roof terrace
Public roof terrace
Semi-public exterior space (common space for residents)
Outer Facade
Semi-public roof terrace
Public Landscape / Park Spaces Public - accessible to general public Building Cores and Horizontal Circulation
Public Landscape / Park Spaces
Semi-public - accessible to building residents Public - accessible to general public Semi-public - accessible to building residents
Public roof terrace
Unit Aggregation
Outer Facade
Semi-public exterior space (common space for residents) Semi-public roof terrace
Public library
Public library Restaurant / Cafe; Other public (community) or semi-public (resident) space
Community court; community social support services Building Cores and Horizontal Circulation
Public Landscape / Park Spaces
Restaurant / Cafe; Other public (community) or semi-public (resident) space
Public - accessible to general public Semi-public - accessible to building residents
Unit-to-Envelope Relationship
Public Program Spaces Community court; community social support services
Unit Aggregation
Public Program Spaces
Public library
Restaurant / Cafe; Other public (community) or semi-public (resident) space
Community court; community social support services
Unit Aggregation System 9 Individual Units
Unit-to-envelope relationship
Unit-to-Envelope Relationship
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Unit aggregation
Public Program Spaces
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Longitudinal section / elevation
Exterior communal space
Residential level plan
Transverse section
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Facade - Interior Space Relationship
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Unit Floor Plan
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STRIATED RELIEF 2020
Philadelphia, PA
Individual pr oject; Arch 502; Critic: Andr ew Saunders
This project presents itself as a fundamental reorganization of the Callowhill neighborhood of Philadelphia, and proposes a new way of engaging with the existing urban context. The site is divided into a series of strips r unning from east to west, each of which is inhabited by the architectural elements and spaces in a different way; elements in adjacent strips slip past each other, proposing varied spatial and visual relationships between different areas of the site. The project’s primar y and secondar y directionalities are drawn from the context’s street organization, and the subdivided strips of the project blend into this context, creating porous borders. Conceived of as a striated 10
relief composition, the proposal creates contrasting spatial and experiential qualities in different strips, or strata; while the plan layout is relatively simple, the project contains a wide variety of sectional relationships, and both interior and exterior spaces are ar ranged across several levels. Located above the lower portions of the project, three elongated bars are positioned as figural elements, and within the project’s strata where these are located, areas below connect visually and spatially to the interior of the bars; these connections also allow natural light from the galleries to enter the market below.
Site plan
Ground floor plan
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Axonometric View
Cutaway Axonometric
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Cutaway Axonometric
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Transverse Section
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Longitudinal Section
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TRESSIS 2019
Philadelphia, PA
Individual pr oject; Arch 501; Critic: Danielle W illems
The architecture of a museum must necessarily be concerned with visibility: it is concerned with what is revealed, and more importantly, in what manner it is revealed. The Penn Museum as it exists today denes a hard, binar y relationship between interior and exterior, and there is little visibility from the outside in, or vice versa; the proposed addition seeks to explore more nuanced types of boundar y and visibility. While challenging the cur rent 18
interior/exterior relationship, the addition project recognized the value of the vegetated, open courtyard, and approaches the site with the intention of preser ving these qualities. The surface of the courtyard is car ved away, the landscape sloping below street level. An angular plaza bridges across the sunken landscape, leading to the entrance of the museum; the sides of this plaza dene the void between the first two of the three for ms.
Axonometric view
One appears as a dense sculptural mass in cast concrete, while the other is clad in a translucent skin of perforated copper; behind, we glimpse the exhibition spaces from the street. Within the courtyard, the third for m sits along the side of the plaza as a transparent glass pavilion, and a series of reflecting pools continue to question denite boundaries and visibility. To this end, a large portion of the program is placed below
street level, allowing the scale of the above ground inter vention to be minimal. This inter vention appears as three cr ystalline for ms embedded in the ground of the courtyard, each of which materializes with a different degree of transparency, and each of which seeks to manifest itself through a specic material: concrete, copper, or glass.
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Section S3
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Section S2
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West elevation
Main plan
East elevation
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LLUM 2017
Barcelona, Spain
This was a gr oup pr oject with two other students. My principal design focus was the exterior design, while one student focused on the interior and another on structural/technical aspects. Of the materials shown her e I contributed the r enderings, elevations, axons, & hand drawings. The plan & section drawings wer e pr oduced in collaboration, and I built the majority of the model.
The project created a building to house a restaurant in Barcelona, adjacent to a 19th-centur y water deposit with ver y heavy brick constr uction. The new building established its relationship to this context through its minimal, low-lying for m which would not obscure the historic facade, as well as by using brick in such a way that its lightness and transparency was juxtaposed against the nearby massivity.
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The consideration of the interior’s natural light was ver y important, and the design explored how layers with different levels of translucency could enclose the space, and what effects these layers would have on the qualities of light. Additionally, the established trees, which the building placement aims to preser ve, for m another layer that filters light as it enters the space.
Axonometric view
Axonometric view - detail
North elevation
Courtyard section - elevation
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The main orthogonal for m of the building accommodates the dining area and kitchen, while a smaller projecting for m on the north houses ser vices and aligns with the courtyard enclosure. On the west portion of the site reflecting pools and trees sur round a historic brick chimney. 28
Efforts were made to design the facade in such a way that the brick and glass would continue to the top of the for m; this and the ir regular spacing of the str uctural members and enclosing planes allowed for the desired compositional effect.
Progress sketch
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1.0 0.5 8.0 8.0 2.0 50.0
Protective membrane Falls in this layer Waterproofing layer Thermal insulation Secondary structure (thermal insulation) Wooden boards Wooden beam
2 12.0 17.5 5.0 30.0
Perforated brick wall Distance Door/window frame Wooden column
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2.0 13.0 15.0 15.0 10.0 10.0 45.0 -
Wooden flooring Installation layer Reeinforced concrete slab Filling Thermal insulation Blinding concrete Capillary-breaking layer Subsoil
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4.0 4.0 20.0 2.0 (cm)
Pavement Sandbed Gravel Filter fleece Subsoil
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Detail wall section
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MALRAUX LIBRARY 2018
Barcelona, Spain
Individual pr oject
Located on a park east of Barcelona’s historic center, this project houses a public librar y for the city of Barcelona. The site presented challenges to the design through its ir regular, acutely-angled shape and its limited footprint. The inter vention focuses on creating three double height reading spaces that occupy the outward-facing corner of the site; these spaces prismatically continue the lines of the streets and communicate themselves to the exterior as three for ms placed on top of one 30
another. These three levels are lifted by a tranparent pedestal that houses the lobby. Within, the back of the site is occupied by mezzanine levels ar ranged around a central shelving element as part of the building’s str ucture; these shorter spaces house all the circulation and ser vices for the building. Materially, the space is definied by the exposed concrete str ucture, wood, and glass. The facade uses a light metal mesh to create a perforated, translucent enclosure reminiscent of crinkled paper.
Site plan
Ground floor plan
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Progress sketches
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OPEN / ENCLOSED 2016
Kickapoo State Park, Illinois
Indivudial project
Designed to provide overnight cabins and a visitor center for a state park in Illinois, the project is concerned with the interplay of the open and enclosed spaces found at the site and created in the architecture - the transition from open to enclosed, and the effects of different degrees of 34
enclosure. The question of how the site’s natural feelings of enclosure and openness could relate to the intervention’s creation of these feelings was important throughout the design.
Site plan
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PROFESSIONAL WORK | PERKINS & WILL 2018 - 2019
ARCHITECTURAL DESIGNER I
HAMAD MEDICAL CENTER 2018 - 2019
Doha, Qatar
While with Perkins & Will, I spent most of my time working on a project for Hamad Medical Corporation in Doha, Qatar. I was part of a large project team and was responsible for working with senior designers to develop, draw, and render the exterior design and the new interior public areas; I produced all of the renderings and drawings shown here. In addition to renovating nearly a million square feet, the project included two new built additions to the Hamad Medical Center campus; on both the east 36
and west sides of the campus, new entrance concourses were designed, as well as several floors of office spaces to be located above the west concourse; these large concourses were designed to unify the overall appearence of the extensive campus and to bring in natural light while controlling it with brise soleil elements and glass fritting. Shown here are some of the major areas I worked on developing: the public concourses, feature walls, and prayer space.
Opposite: Courtyard garden, prayer space exterior Above: Courtyard garden, prayer space & concourse exterior Right above: Prayer space facing qibla wall Right: Prayer space entrance from concourse
Prayer space floor plan
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East concourse partial elevation
East concourse elevation
East concourse section a
East concourse section b
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Facing page: Left: Interior of east concourse Upper right: Interior of prayer space Lower right: Interior of office space above west concourse This page: Left: Interior of west concourse Right: Feature wall in west concourse
West concourse section
West concourse west elevation
West concourse south elevation
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FREEHAND DRAWINGS Done on site while visiting various buildings and cities in Eur ope Clockwise fr om upper left: Basilica Sainte-Nazair e, Carcassonne; Bibliotheque Sainte-Genevieve, Paris; Pantheon, Paris; Kursaal Concert Hall, San Sebastian 40
Top to bottom: Villa Savoye, Poissy; Villa La Roche, Paris; Vallcarca Librar y, Barcelona 41
Clockwise fr om upper left: La Ricards, Barcelona; Igualada Cemeter y, Catalonia; The Matter of Time, Richard Ser ra, Bilbao 42
Architectural Photography; Studies in oil paint
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Eric Fries - 618-223-4226 - friese@upenn.edu