R A Y M O N D
[architecture
S O V A
portfolio]
[DESIGN PHILOSOPHY] Most of my architectural design strategies have involved creating projects that not only complied with their contextual and programmatic contingencies, but also formed a strategic vocabulary of architectural expression. I approach every project by developing rigorous formal and spatial languages which often are governed by a particular set of rules or moves. In my opinion architecture is not only about finding a solution for a specific set of problems, but it is about finding the absolute best solution for that set of problems. Architecture for me is not only a medium of art and design, but also a game of strategy in which components that are designed relate directly to each other and to the systems in which they manifest themselves. I have always enjoyed the building of projects, and observing first-hand how architectural concepts are materialized and assembled. Without considering this side of architecture I feel that my designs would be void of meaning. Architecture for me is not only about the design and manipulation of spaces and forms, but also how projects can convey their conceptual operations in a clear and concise manner following their materialization.
[ONONDAGA
LAKE
NATURE
MEDIA: REVIT, AUTOCAD, PHOTOSHOP
[DEALING
WITH
|
AND
PROGRESS
UNDERGRADUATE THESIS
THE
DIGITAL
MEDIA: REVIT, AUTOCAD, PHOTOSHOP, ILLUSTRATOR
|
|
AGE
CENTER]
PROF. DAVID CARLI
PANOPTICON]
GRADUATE WORK
|
PROF. LAWRENCE DAVIS
[EVERSON EXPANSION: FILM + PHOTOGRAPHY MUSEUM] MEDIA: REVIT, AUTOCAD, ILLUSTRATOR, PHOTOSHOP
| GRADUATE WORK
[STORATION
STORAGE
FACILITY
=
|
+
PROF. MARTIN HAETTASCH
RESTORATION]
MEDIA: RHINO, V-RAY, ILLUSTRATOR, PHOTOSHOP, DIGITAL FABRICATION GRADUATE WORK |PROF. BRIAN LONSWAY
[AN
EXPLORATION
OF
DUMBNESS
IN
ARCHITECTURE]
MEDIA: RHINO, V-RAY, AUTOCAD, PHOTOSHOP, ILLUSTRATOR|GRADUATE WORK|PROF. PAUL PREISSNER
[IL TORRE DI SORRENTO - REVITALIZATING MARINA PICCOLA] MEDIA: REVIT, PHOTOSHOP, HAND RENDERING
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UNDERGRADUATE WORK
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PROF. JEFF JOHNSTON
[BUFFALO PERFORMING ARTS CENTER- THE TEMPEST THEATER] MEDIA: REVIT ARCHITECTURE, AUTOCAD, PHOTOSHOP
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UNDERGRADUATE WORK
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PROF. BILL DEAN
[OBSERVATIONAL SKETCHING] MEDIA: INK AND PENCIL ON STRATHMORE SKETCH PAPER
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UNDERGRADUATE WORK
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SPRING 2012
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[ONONDAGA LAKE NATURE AND PROGRESS CENTER] MEDIA: REVIT, AUTOCAD, PHOTOSHOP
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UNDERGRADUATE THESIS
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PROF. DAVID CARLI
When considering the extent of the social problems created by Onondaga Lake's pollution history and condition, it was vital to this design challenge to create a piece of architecture that could adequately address the correction of these social problems in an efficient and sustainable manner. The design parti developed for this project called for an efficient circular floor plan with a mechanized central core, which created unique design opportunities throughout the stages of concept development. This layout created ideal circulation options for the structure's interior, as well as opportunities for the collection of solar energy and utilization of Syracuse's prevailing winds from the south and southwest for purposes of natural ventilation. Another core concept of this project was to insert the building within the context of a successful park environment, which was accomplished by creating a system of sloped green roofs that can be easily accessed by the public. Ultimately the goal of this project was to promote optimism within the eye of the public with regards to the cleanup of Onondaga Lake, and to educate the public on how they can become involved in preserving and protecting the environment. This project was awarded Most Outstanding Thesis for the graduating class of 2012 at Alfred State College.
1. Main Lobby 2. Classrooms 3. Lecture Hall 4. Lake History Museum 5. Administration 6. Indoor Park 7. Mechanical Space 8. Shipping/Receiving 9. Aquarium 10. Kitchen 11. Cafe 12. Souvenir Shop 13. Green Mechanical Space 14. Water Filtration 15. Temporary Gallery
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[DEALING WITH THE DIGITAL AGE PANOPTICON] MEDIA: REVIT, AUTOCAD, PHOTOSHOP, ILLUSTRATOR
|
GRADUATE WORK | PROF. LAWRENCE DAVIS
The original panopticon was a formal structure built on the idea of effective surveillance. When Edward Snowden revealed the possible violation of constitutional rights by the US government in the summer of 2013, he revealed the digital panopticon; a country under mass surveillance where walls play no role. As an architectural issue, the design approach is a critique on government transparency by making obvious the tensions associated with the reveal of data surveillance and the different positions on the issue. The design is an office building for an NGO dedicated to matters involving the 4th amendment of the US Constitution, and formally displays the debate between national defense and constitutional privacy. A series of transformations from an original single form represent the events of 2013, which created the rift and separation of positions regarding the 4th Amendment. The two sides of the debate, as represented by the two sides of the structure, are separated and misaligned in order to stage moments of intense surveillance in all directions.
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Metal cap with continuous cleat
Flashing
Membrane flashing
Concrete parapet
Gravel aggregate
Waterproof membrane
Thermal insulation
Vapor retarder
Concrete roof deck
Perforated stainless steel shading panels
Galvanized steel tube frame
Steel suspension rod
Insulating glazing
Operable glazed window units
Extruded aluminum frame
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[EVERSON EXPANSION: FILM + PHOTOGRAPHY MUSEUM] MEDIA: REVIT, AUTOCAD, ILLUSTRATOR, PHOTOSHOP | GRADUATE WORK | PROF. MARTIN HAETTASCH Arguably one of the most interesting pieces of architecture in downtown Syracuse is the Everson Museum of Art, which was designed by brutalist architect I.M. Pei. The challenge of this project was to design an addition to the Everson Museum on the site of its existing plaza, which would house film and photography exhibitions to provide the Everson with the facilities and space that the museum currently lacks. The response to this design challenge was to construct a separate facility to the Everson Museum that mimics its basic massing and geometry through iterations of abstractions, while reinterpreting its organization and operational functionality. This was completed through carefully analyzing the operational logic of the Everson Museum, as well as realizing its relationship between solid and void, and rearranging those relationships in a way that mimics the Everson in a tasteful and respectful manner.
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[STORATION FACILITY = STORAGE + RESTORATION] MEDIA: RHINO, V-RAY, ILLUSTRATOR, PHOTOSHOP, DIGITAL FABRICATION |GRADUATE WORK|PROF. BRIAN LONSWAY This design exercise was focused on addressing transportation issues of the future within the context of Los Angeles, CA, and operated under the assumption that fossil fuels are nearly depleted. The project consisted of three primary research elements which needed to be taken into account: Civic Agency (Departments of Energy + Parks and Recreation), Vehicle (Gemini Concept Car), and Site (Los Angeles River). The Combination of these three elements created a very specific program involving the creation of new urban networks within spaces that were formerly divided by the Los Angeles River. The resulting design was a modular piece of urban infrastructure which would serve as a link between different sides of the river. Ultimately the final design served 4 unique functions: (1) Provide storage for 1,000 vehicles, (2) Serve as a bridge and connector, (3) Offer pedestrian friendly space for individuals to occupy while their vehicle is charging, and (4) Use the Los Angeles River as a source of hydro-electric power to fuel the vehicles stored there.
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ASSEMBLY
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[AN EXPLORATION OF DUMBNESS IN ARCHITECTURE] MEDIA: RHINO, V-RAY, AUTOCAD, PHOTOSHOP, ILLUSTRATOR|GRADUATE WORK|PROF. PAUL PREISSNER The goal of this design studio was to address architecture from a point of criticism. Contemporary architecture is often guilty of taking itself too seriously and is usually by categorized by computational design, flashy renderings, and parametric forms. Computation is becoming more and more influential in the making of architectural forms to the point where architecture may be losing certain freedoms. Exploring dumbness in architecture is a way of exploring architectural forms that are not sleek, sexy, or spectacular, but rather clumsy, crooked, and awkward. I chose to address this design strategy through exploring form-finding strategies involving rubber balloons, plaster, and wooden blocks. By filling the balloons with plaster and then wedging them together in strange configurations, architectural forms began to take shape. These forms were given the program of townhouse units in an unspecified context. Ultimately the end result of this design process was a development of townhomes that possessed a unique set of qualities that were strange, unfamiliar, and potentially promising for architecture.
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21 5’
15’
40’
100’
22 5’
15’
40’
100’
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[IL TORRE DI SORRENTO-REVITALIZATING MARINA PICCOLA] MEDIA: REVIT, PHOTOSHOP, HAND RENDERING
| UNDERGRADUATE WORK
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PROF. JEFF JOHNSTON
The dilapidated and deteriorating ferry port of Sorrento, Italy, was the primary cause for this particular design exercise. This schematic design addressed two problems specifically: the port's lack of active urban space, and its lack of aesthetic quality. One of the biggest issues with the port is people only use it for transportation purposes, and not for recreation. In response to these problems, the design called for the erection of a three-tiered spiraling observation tower, which was inspired by the three symbolic stripes on the national flag of Italy. Around the base of this tower is a much needed waterfront park area, which in combination with the observation tower, would draw more tourists and townspeople to the port of Sorrento while also influencing these people to stay at the port for longer periods of time. Our entire class presented our designs for the port to Sorrento’s town board, mayor, and some local residents. My design was also published by NAFSA - an Association of International Educators – in which I discuss the importance and challenges of international design.
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[BUFFALO PERFORMING ARTS CENTER- THE TEMPEST THEATER] MEDIA: REVIT, AUTOCAD, PHOTOSHOP
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UNDERGRADUATE WORK
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PROF. BILL DEAN
The Tempest Theater was a project that was developed out of a need for the theater district of Buffalo, New York, to be marked by a distinctive piece of architecture in order to provide the district with a distinctive gateway or landmark. The type of theater that was selected for this project was one that focused specifically on the works of William Shakespeare; one of Shakespeare's plays entitled "The Tempest," became the primary source of inspiration for the form of this piece of architecture. Taken quite literally, the powerful sea storm described in Shakespeare's "The Tempest" materialized itself within this design, creating a dominating presence for Buffalo's theater district. Utilizing the inspirational chaos of a sea storm, and channeling it through the constraints of site and program, the Tempest Theater manages to channel its curvilinear massing in order to effectively meet the demands of the program.
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[OBSERVATIONAL SKETCHING] MEDIA: INK AND PENCIL ON STRATHMORE SKETCH PAPER
| UNDERGRADUATE WORK | SPRING 2012
The following images are a collection of what I consider to be my best observational sketches and drawings completed during my time spent studying abroad in Sorrento, Italy. Through iteration, practice, and persistence, I was able to develop what I consider to be a highly useful tool to use within the field of architecture: observational sketching. Sketching gives architects the opportunity to provide more information at times than photographs because sketches filter out the extraneous information, revealing only the essential details and geometries. During this particular semester abroad, I was able to attend a 2-week sketching seminar by Frank Ching - architectural author and professor emeritus of the University of Washington. He taught me valuable lessons on how to compose perspectival sketches and diagrams, and reminded us that anything worth remembering is worth drawing.
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