Ray Khalaf- Architectural Portfolio by Ray Khalaf

RAY KHALAF SELECTED WORKS 2025

CONTENTS

01 dudley the re:verb 02 pierce musical performance 03 the culinary school 04 wolf tells it all 05 dar damistan

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nubian square, boston ma.

dudley the re:verb

establishing counterhegemonic gathering spaces by reclaiming roxbury’s cultural and sonic heritage resists the trajectory of capitalist-driven urbicide while nurturing continuity

s i t e

i n t e g r a t i o n

The project underscores the ethical responsibility

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architects have in addressing segregated spaces and racial divisions. In the context of the Anthropocene, it calls for a reparative approach. Re:verb responds to capital-driven investment in Roxbury by engaging with efforts coined by news outlets as “revival,” referring to developments such as the Bolling Building restoration and Nubian Square Ascends. It draws on both city-led and community-driven initiatives along Dudley Street and the surrounding areas, including the proposed ARTery art corridor and the Boston Caribbean Carnival. Together, these efforts contribute to a network of spaces that reintroduce lost cultural and sonic heritage to a square that has remained vacant for sixty-five years following urban renewal.

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community gathering space

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community gathering space

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sanctuary

community gathering space

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Demolished/ Closed Music Venues

Surveillance

Instituitional

New Communal Development

Activity Pathways

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Churches

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the ARTery

Intercolonial Club Celtic Dance and Music Hall

Celtic

The Orchard Projects Origins of “New Edition”

Win e and slow Hall Music Hall

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the ARTe

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LEGEND

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Passerby

Children

Jazz

Irish Reels

Communal Gatherings

SONIC HERITAGE

To honor the lost cultural heritage of Dudley Square, this work explores the vibrant history of the area, from its Irish dance halls to its later transformation through Jazz and Gospel influences. It highlights the lives of artists and musicians deeply rooted in Roxbury, such as Roy Haynes, whose connection to the Twelfth Baptist Church reflects the neighborhood’s jazz legacy, and New Edition, who

grew up in the Orchard Park Projects surrounded by Gospel traditions. Though Dudley Square remains a cherished memory for many, its current state fails to reflect the rich cultural tapestry it once showcased.

s y s t e m

c o n s i d e r a t i o n s

This project examines the systemic violence Corporation redlining maps, which categorized embedded in urban renewal policy by drawing neighborhoods based on perceived credit risk. By n’s Schema Weizman’s for Urban Schema Occupation for Urban Occupation parallels to a military urban schema, following the the 1960s, urban renewal maps targeted these sequential processes of planning, occupation, same areas for “improvement,” enabling the Boston demolition, territorial fragmentation, civil Redevelopment Authority to label properties as administration, and surveillance, as outlined by “blighted” and seize them for public use. forensic architect Eyal Weizman. In Roxbury, this began with the 1930 Home Owners’ Loan The resulting demolition fractured Roxbury’s urban

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2. OCCUPATION OF LAND Occupation 2. Oo 2. Occupation 2. Occupation of2.Land of2.Lan Planning1. PLANNING 1. Planning 1. Planning 1. 1. Planning Planning 1. Planning

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4. TERRITORIAL FRAGMENTATION 5. CIVIL ADMINISTRATION Territorial 4. Fragmentation Territorial 4. Territorial Fragmentation 4. Fragmentation 4. Territorial Territorial Fragmentation 4. Fragmentation Territorial 5. Civilian Administration 5. Civilian 5.Fragmentatio Civilian Administra Admi 5. 5. C

fabric, with highways isolating communities and civil administration reinforcing control through surveillance. This trajectory led to the cultural erasure of Nubian Square’s brick cultural hubs, completing the process of urbicide and opening the door to recolonization under the guise of renewal. Deemed inefficient by capitalist standards, brick

has been replaced in marginalized areas like Roxbury with cheaper materials that prioritize profit over heritage. Today, the former Dudley Square is marked by vacant lots and institutional buildings, where floodlights cast an atmosphere of surveillance over a neighborhood stripped of its architectural presence and cultural memory.

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3. DEMOLITION pation .of Occupation Land of Land 3.of Demolition Land 3. Demolition 3. Demolition 3. Demolition emolition 3. Demolition

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6. SURVEILLANCE on n.inistration rveillance Civilian Administration 6. Surveillance Administration 6. Surveillance 6. Surveillance 6. Surveillance 6. Surveillance

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c o n s i d e r a t i o n s

1930S/ DISINVESTMENT

Police Station

Opera House

Unknown “Collins Building”

Police Station Built

1900s

2012

Built

Poor Condition

Demolished

1870

1940s

1960s

“Heart of Black Culture” Church

Demolished

1852

1965

2024

Abandoned Ground Floor/ Apartment Units Above 2024

Vacant 2024

Dudley St Baptist Church

Rivoli Theatre

TEMPORAL DIAGRAM

1868/ ANNEXED TO BOSTON

Built

Closed

Demolished

1927

1957

1960s

1963-1975/ WASHINGTON PARK RENEWAL

Apartments 2024

hall

sanctuary

club

SANCTUARY

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p r o g r a m -

AR TC OR RID O

n e t w o r k

Church

bells

NIT

COM

ARK

N M

BIA

37'-5"

RIDOR

Footsteps

Speaking

Church bells

Cheering

Speaking

king

Singing

Spea

Footsteps

Singing

ring

Chee

Ye l l ing

Yellin g

ssi

Dis cu

les

Ve hic

ART COR

L a ug Footstep s h in g Ye l l in g

pe ak in

ste

Foo t

hing

Yellin g

Laug

Spea king

ART CORRIDOR

A B

HARRISO

M AL CO LM

N AVE

BL VD

DUDLEY N TO G N HI AS W

WARREN ST

C A

SITE PLAN

The design forms a network of sonic components that collectively shape the soundscape, strategically leveraging spatial adjacencies. Each component is positioned based on patterns of sonic acceptance, social perception, and community need. The club, for example, is located near the hall but remains discreet, blending into the fabric of the neighborhood. The sanctuary is placed adjacent

to community institutions such as churches and libraries, reinforcing its role as a space for reflection and resonance. Open recreational zones are situated beside areas where community events occur, including carnival routes and art corridors. These spaces create thresholds for collective life, offering opportunities for gathering and listening.

p r o g r a m -

c o m p o n e n t s

This thesis recreates heterotopic spaces that honor marginalized sonic and cultural expressions once deemed obscene but later embraced by mainstream culture. Through sanctuary, hall, and club typologies inspired by demolished brick structures in former Dudley Square, the project resists the commodification of construction and creates spaces for collective life. It advocates for

SANCTUARY B C

cultural continuity by embedding forgotten sonic histories into an activist and polemic architectural framework that challenges erasure while remaining open to future reinterpretations, extending from music to youth and activist participation in the urban fabric.

PERFORMANCE HALL C

public

mainstreamed

vulgar

marginilized

large crowds semi-public

hall

trendy

CLUB

club

p r o g r a m -

c o m p o n e n t s

The components are designed with close attention to sonic qualities, reverberation time, and overall ambiance, tailored to the intended sound within each space. The design process involved sound demonstrations and sonic visualizations, emphasizing the spatial interplay that shapes the acoustic environment. Each typology responds to different acoustic needs.

SANCTUARY B C

Jazz clubs require balanced sound conditions with minimal reverberation and a mix of absorptive and reflective surfaces to suit their intimate scale. Performance halls are designed for higher, controlled reverberation to enhance clarity and resonance. Sanctuaries, often located outdoors, adapt to a broader dynamic range depending on the program and surrounding context.

PERFORMANCE HALL C

40'

Dynamic sound qualities

CLUB

14'

25'

40'

30'

RT60 of 1.8-2.2s

RT60 of 0.6-0.85s

CLUB

gin

Sin ng Speaki

Yellin ing

Discu ss

Ve h i c les

Che

Y e l l i ng

Foot

ls bel

Lau steps g h i ng Y e l l i n g

rch

Sp e a k ing

Chu

ng aki Spe s

step

Community Gathering Church Bells

Foot

ng aki Spe s ep t ts

rch

Chu

bel

100’

50’

bel

rch

Chu Footsteps

Yelling Laughing

Speaking

s l bel rch Chu

ng ri ee

Youth Gathering Artist Market

in ng Si

aki Spe eering

50’

SECTION PERSPECTIVE

PERFORMANCE HALL

SANCTUARY - ADJACENT TO THE ART CORRIDOR

BIA

M OLU

STO

upham corner, boston ma.

pierce musical performance

designed to integrate the users of Dorchester into music learning opportunities and musical entertainment. *in collaboration with suprasanna meda

c o n c e p t

d e v e l o p m e n t

The concept originated from a moment during the site visit when we were captivated by the view framed through the arched window. The busy urban movement of Dorchester was gently enclosed within the softness of the arched frame. Inside, the building felt rough and cramped toward the center, yet offered significant potential for PROCESSarchitecture. Our design vision began biophilic

as an extension of the existing structure, initially conceptualized as natural forms resembling tree stems. However, the musical program demanded a clear, open performance space. To address this, we extended the structural “stems” from the building facades, drawing inspiration from the existing arched frames. We continued exploring

ADDITION

dynamic identity. This continuity fosters a blend of history and design innovation, aligning with the cultural essence of the space. We felt the project symbolized history and art, making it a unique space within Dorchester. To emphasize this, we extended the height of the structure, transforming the musical performance space into a beacon for expression.

EXISTING

the arch as a unifying motif. Structurally and aesthetically, we were inspired by the Canadian Churchill Station by gh3. Its interplay of glass and angled lateral systems offered a way to create an illusion of depth and complexity on the façade. The new addition’s façade is informed by the existing Pierce Building’s arches, preserving its historical character while introducing a refreshed and

BUILDING THE FORM

Final Design

ADDITIONAL FLOOR ONE

p r o g r a m

The revitalized Pierce Building reclaims its role as a cultural gateway to Upham’s Corner, blending historical significance with a vision for an inclusive and dynamic future. By reintroducing artistic spaces, the design restores the building’s original purpose, offering valuable resources and opportunities for local artists and residents.

Two new levels dedicated to music performance and café spaces enhance the building’s presence within the neighborhood. An exposed centerpiece staircase weaves through educational music facilities, recording studios, and performance areas, creating a seamless journey that celebrates musical engagement and strengthens the connection between community, art, and architecture.

ADDITION LEVEL 2 1’=1/8”

PERFORMANCE

NORTH

ADDITION FLOOR - LEVEL TWO

CAFE & PERFORMANCE

ADDITION FLOOR - LEVEL ONE

SOUTH ELEVATION

WEST ELEVATION

SECTION PERSPECTIVE //

STRAND THEATRE est

1918

Santander

MAPS

ce of

Massachusetts Allian Portugese Speakers

Park

ing fo

s y s t e m

ADDITION LEVEL TWO

c o n s i d e r a t i o n s

ADDITION LEVEL ONE

5 TRANSFER LEVELW30 - 30 x 10.5 STRUCTURAL SYSTEM AXONOMETRIC

COPPER CLAD GLASS FRAME STEEL FRAMING TRUSS FRAME ACOUSTIC PANEL

COPPER CLAD GYPSUM SHEATHING EXTRUDED POLYSTYRENE INSULATION GLASS FRAME STEEL FRAMING TRUSS FRAME GPYSUM BOARD ACOUSTIC PANEL

FACADE DETAIL

Solar Panels

Copper Clad

Harsh Sunlight (July - December) 10 am

least amount of uce winter wind

4 pm 8

Desirable Sunlight

3 9

6 am 4 3

PREVA ILING WESTE RN WIN D 5

Shading by trees reduces glare

east

Large open spaces reduces urban heat island effect

EARLY PASSIVE SYSTEM CONSIDERATIONS

Our intervention adds two floors, supported by a As for passive systems, the building’s passive EXISTING PROBLEMS lightweight steel space frame that eliminates interior design maximizes daylight through large windows columns. Existing columns are reinforced with on its southwest-to-southeast-facing facade OVERLIT SPACES steel jacketing, and underpinning strengthens the while mitigating glare with shading elements. The foundation. A transfer-level truss with W-30 beams northwest side, exposed to prevailing western INFLEXIBLE PROGRAMMING distributes loads to perimeter columns, while the winds, has fewer apertures to minimize heat loss extended facade columns and underpinning ensure during winter. PROXIMITY TO NOISE AND CONGESTION both exterior continuity and stability.

HARSH JULY-DECEMBER SUNLIGHT (9:30 -10:30 AM & 3 - 4 PM) / GLARE

ADDITION LEVEL TWO- FACADE ASSEMBLY

EXISTING PIERCE BUILDING (LEFT) - ADDITION (RIGHT)

W M

A H

D ST

W E

B ST ON

IN ASH

south end, boston ma.

the culinary school.

a culinary school designed to be self-sustaining, integrating food production, education, and dining experiences. *in collaboration with osamah al shahrani

c o n c e p t

d e v e l o p m e n t

Many iterations shaped the concept’s development. My partner and I gathered materials from around the studio and began experimenting with them on the site model. We started by using sticks to establish connections with elements we found interesting— the nearby park, key entry points, and the windows of surrounding buildings. Our goal was to integrate the design with its surroundings rather than disrupt them.

Throughout our explorations, we created models focusing on height, porosity, wind circulation, and optimized viewing angles. We must have built over twenty models—these were the ones that made it. The final design takes shape as a composition of exploded geometries, each responding to a specific function. These forms frame views, create shade, and promote the

growth of food, reinforcing the relationship between the culinary school and its environment. A combination of mahogany wood and curtain walls defines the façade, with angled geometries designed to optimize light, views, and spatial diversity. The use of wood and glass intentionally evokes a sense of warmth and transparency. Below

ground level, we created a growing lot for the users of the culinary school to cultivate their own food. This addition was intended to make the school more self-sustaining, reducing reliance on external food sources and reinforcing its connection to the environment.

ORIENTING THE INTERVENTION

EXTERIOR

p r o g r a m

The building behaves as two separate entities, both systemically and programmatically. At ground level, the concaved geometry and retail programming create an open invitation to the public, fostering interaction between students and their future consumers. As you ascend, the building transitions into a private learning environment, offering students and educators seclusion while maintaining visual

connections to the park and urban surroundings. The integration of food production into exterior open spaces further strengthens the connection between architecture, education, and sustainability, creating a natural ambiance deeply rooted in the site.

TEACHING KITCHEN LIBRARY

LECTURE HALL

THIRD FLOOR

PASTRY KITCHEN

STORAGE RESTAURANT KITCHEN

BAKERY

GROUND FLOOR

SECOND FLOOR- WAITING AREA

THIRD FLOOR- TEACHING KITCHEN

s y s t e m

DETAIL SECTION

c o n s i d e r a t i o n s

FLANGE PLATE

SPECIAL 1/2” BOLT STEEL PLATE CONNECTION WEB CONNECTION PLATE 8” x 2” I-STEEL BEAM ALUMINUM GLASS CONNECTOR

LINK FIRE PROTECTION TUBULAR STEEL COLUMN SILICONE SEALANT SEAMLESS STEEL INSULATING TEMPERED GLASS

CONCRETE FLOOR FINISHES

SUPPLY DIFFUSER STEEL COVERING SHIELD PLATE FLOOR DECKING 4 WAY SPIDER OSP 1” CEILING GYPSUM BOARD 2” INSULATION BOARD

CONNECTION DETAIL

Since we aimed for non-recurring walls at different levels, we opted for a tubular steel structure with 1-foot-thick columns, including a larger column to support the overhanging edge of the teaching kitchen. This approach provided design flexibility, allowing us to create uninterrupted spaces like the large auditorium.

Additionally, we implemented active chilled beam systems in each building. These were integrated into the ceiling to protect them from potential damage due to cooking activities. Using two chilled beam systems provided us with greater freedom in our design, enabling us to explore different spatial configurations more freely.

ST TH U O TM R A D

NEW

BUR

Y ST

back bay, boston ma.

wolf tells it all.

an exploration into curved form, inspired by the children’s book “Wolf in the Snow”

s i t e

i n t e g r a t i o n

Newbury Street, a densely populated retail

hub with linear circulation, lacks meeting points and spatial variety. The vacant parking lot at Dartmouth and Newbury presented an opportunity to introduce a dynamic gathering space. Positioned at an angle, my pavilion disrupts the street’s repetitive flow, encouraging new modes of movement such as walking and crawling. With ground seating and cushioned floors, it fosters an inclusive, child-friendly storytelling environment, transforming the monotony of the streetscape into an interactive experience.

TH T HS UTU OO TM M ART

DR A D

T Y

Y R R U BU

B EW W N E N

S ST

c o n c e p t

d e v e l o p m e n t

The pavilion project was a quick, fun exercise lasting at most two weeks, introduced to us in early third-year studio to explore the architecture behind pavilion-making. Each student was randomly assigned a children’s book; mine was Wolf in the Snow by Matthew Cordell. Our task was to design a pavilion inspired by our selected book.

As I looked through my book, I first noticed the sloped mountain landscape. I was drawn to the curvatures and how they guided my eyes toward the main characters, the wolf and the little girl. This prompted me to explore curved geometries. I began considering how each form could complement the other, and how to create a smooth transition

between different spaces. In a way, I wanted the form itself to direct circulation. At the same time, I sought to integrate these curvatures, allowing them to guide people naturally toward meeting points.

pavilions, and another where you are in between the two. The inside-outside concept is designed to make visitors feel integrated with their surroundings through different spatial form and dimension.

Eventually, my form created two meeting point typologies: one where you are at the center of either

FORM-MAKING

EXTERIOR

SECTION

p r o g r a m

SPATIAL EFFICIENCY

AXONOMETRIC

Manama, BH.

dar damistan

an urban development project consisting of residential row houses, led by the real estate developer House Me.

s i t e

i n t e g r a t i o n

Dar Damistan is an urban real estate

development featuring 27 modern villas, designed across a total plot area of 8,307 square meters. Situated in a quiet residential neighborhood in Damistan, Bahrain the project offers a peaceful living environment with convenient access to daily necessities. The project enjoys close proximity to essential amenities, including schools, healthcare centers, supermarkets, and public parks, making it an ideal location for families and individuals alike. With easy access to main roads and public transport, residents benefit from smooth connectivity to surrounding cities and commercial hubs, all while enjoying the comfort of a well-established community.

p r o g r a m

Each villa comfortably accommodates a family of up to six or seven individuals. The design includes private backyards and dedicated front parking spots for convenience and outdoor living. Many components of the villa, both exterior and interior, incorporate wood elements to introduce warmth, texture, and a pop of natural color, contributing to a vibrant and inviting living environment. The layout

emphasizes both privacy and community, creating a balanced setting for family life.

EXTERIOR

khalaf.r@northeastern.edu rkhalaf.eng@gmail.com