Building the Future

The female-led team behind ray and the national black theatre takes our questions

By Julia Gamolina

Ray is a newly-launched network of thoughtfully designed residential spaces at the intersection of art and culture, community, and accessible pricing, developed out of the need for more spaces that make culture accessible daily. Highlighting the sense of community made possible by an intimate shared experience of art, architecture, and design in a residential context, Ray’s mission is to provide more equitable access to the built spaces of the future.

Founder Dasha Zhukova, who established the Garage Museum of Contemporary Art in 2008, was inspired to apply her work in cultural institutions and public art spaces into a new category of the built environment. Her experience, along with the Ray team’s interdisciplinary backgrounds, allows for a collaborative and creative approach to the historically traditional space of real estate.

For their flagship development, Ray is partnering with the National Black Theatre (NBT) to create a transformative building at 2033 5th Ave, also known as National Black Theatre Way. The project will deliver the flagship Ray Harlem residential rentals and the next iteration of the NBT performance space, as well as dynamic retail and a large-scale events space. NBT and Ray both believe deeply in supporting the wellbeing of artists and are working together on an Artist Housing Initiative that looks to create more access to housing for local artists and creatives. The conception, construction, and activation of the shared Ray and NBT home are focused on creating new models for what becomes possible when centering healing in the process of building. 

Together, Ray and NBT are looking to honor tradition while challenging assumptions about real estate and the built environment. In service of infusing new energy and perspective into the conventional New York City real estate process, the two teams carefully selected design partners who could help advance the landscape by thinking outside of the traditional building box. We have interviewed the team on their experiences working together, and on a new space of this kind:

Dasha Zhukova, Ray - Founder, Investor, and Residential Brand Lead

Sade Lythcott, National Black Theatre - CEO

Becca Goldstein, Ray - Investor and Residential Brand Lead

Suzanne Demisch, Ray - Investor and Residential Brand Lead 

Laura Rog, L&M Development - Project Developer

Frida Escobedo, Frida Escobedo Architects - Collaborating Architect

Deborah Moelis, Handel Architects - Collaborating Architect

Ashley Murphy, Handel Architects - Collaborating Architect

Little Wing Lee, Studio and Projects + Black Folks in Design - Interior Designer

Laura Starr, Starr Whitehouse - Landscape Architect

Lissa So, Marvel Architects - Theater Architect

Allison Robin, Envoie Projects - NBT Owner’s Rep

Adrienne Hepler, Envoie Projects - NBT Owner’s Rep 

Sarah Patton, Compass - Marketing Lead

…

Julia Gamolina: I love that Ray’s focus is toward culture that is rooted in community, in a residential context. What was the driver behind the residential component being at the core? What is special about such a hybrid programmatic concept for each of you?

Dasha Zhukova, Ray: When we mix uses in a building with residential at the core, Ray creates an opportunity for more dynamic experiences. Ray residences allow people to experience art in untraditional ways in the normal cadence of their lives. By thoughtfully integrating art into the day-to-day, we create conditions for people to develop relationships with it, especially since they’re living with the work. Ray showcases not only the potential but the benefit of connecting art and commerce.

Becca Goldstein, Ray: The built environment is uniquely positioned to be a modality for inviting connection through shared experience: no matter who you are, when you walk through the door of your building each day, you inherently have something in common with all of the other folks that live there. If cultivated thoughtfully, this quiet similarity has the potential to be the basis for deeper connection. Through intentional architectural design and creative programming, these other spaces and uses allow for more moments of collision that can be seeds for growing community over time. 

Suzanne Demisch, Ray: Ray is all about design and architectural touchpoints, details, and palettes. It's about the experience of walking into a thoughtfully designed room or space. We have many opportunities to connect with such moments in other parts of our life– we believe that your home should be held to the same standards. Residential buildings should be a reflection of their surroundings as well as forward, creative thinking.

How did you go about the selection and curation of the team, from the architects to the owner’s representatives, to marketing?

Dasha Zhukova, Ray: What’s exciting about Ray is that in each city, we get to create a different architectural experience that can connect with the local community. Our project with NBT is at the intersection of East and West Harlem, and we were excited to work with visionaries who could create a building that would act as a point of convergence. It has always been at the core of Ray to prioritize values-aligned partners, which we see in all of the folks we’re working with on this project.

Sade Lythcott, National Black Theatre: I approach all things as a storyteller. Storytelling in my estimation is the single most powerful tool on earth. Transporting us to unexplored corners of ourselves as both witness and conjurer. It roots us in the unimagined possibility of what the future can and will hold. 

For this project I wanted to tell the story of cultural alchemy at the hands of strong women, Indigenous women, I was interested in having a conversation about legacy, one in which uncovered and honored our ancestors, rather than simply building on top of their ash and bones. I wanted folx in my community to see the untapped beauty of themselves in our project;  to feel at home In both new and ancient ways. For me this also needed to be a story that connects us to each other, what it means to be at the crossroads of East Harlem (LatinX) and Central Harlem(Black); consumed by building bridges and not towers. Once the plot was clear it was a very intuitive process to select the team to dream into this vision. 

Becca Goldstein, Ray: We see Ray as a platform for amplifying underrepresented voices in the architecture and design world. Ray buildings may be an opportunity for folks to work on a larger scale than they have before, which allows us to help de-risk the landscape by showcasing different firms’ capabilities. With this project specifically, there is both so much history and potential, and we very much prioritized finding partners who understood the magnitude of the narrative. Our design team, development partners, and the many other people supporting all recognized from the start that this project was going to be transformational. In many ways, this team represents the quiet revolution: we exemplify what becomes available when we break away from the typical construct. The expansion of possibility and dissolving of pre-existing boundaries make space for new models for the future.

We're seeing more and more hybrid models of mixed use development. What were the main factors to consider here in combining the programs? Did you notice a difference in this stakeholder process with this team? 

Laura Rog, L&M Development: The mixing of multiple uses in this project are driven by both the location and history of the site as well as the ownership team’s desire for collision and creativity in shared spaces. At a major intersection of Central Harlem, the site allows for arts, community, commercial and residential all in one as it sits within reach of all these uses. With NBT as anchor, the concept evolved early on to allow for various programs to intersect through shared lobby spaces and porous ground floor uses in order to facilitate a dialogue between all users. There are many more stakeholders involved in this process given the mixed nature of the project and concurrent design programs occurring, which has been challenging but also an opportunity to create something unique through the lens of various perspectives.

How did this very special combination of programs evolve your design approach? What did you learn in the process?

Frida Escobedo, Frida Escobedo Architects: Residential projects in New York City are probably among the most compelling, attractive, and challenging projects an architect can have the opportunity to work on. Spending time on a project that involves an institution with the history and cultural weight of the National Black Theatre creates a sense of depth and magnitude that are very hard to find, especially in the context of residential spaces. The project is informed in its totality by the relationship to the Theatre´s history and legacy, along with the longstanding community around it. This provides conditions for Ray’s residences to be contextual to the space and all of its neighbors in Harlem. Working together with the different partners on this project has been an invitation to consider how to honor the past while expanding the legacy into the future.

Lissa So, Marvel Architects: The programs and spaces of the National Black Theatre go far beyond performances and events. They are spaces that produce transformation, nurture education and enrichment, and empower artist and the community. Our design approach was to provide inspirational flexible spaces that allow NBT to expand their programmatic possibilities, but also allow for unexpected interactions. We have learned so much about Dr. Barbara Ann Teer and the rich history of the National Black Theatre and have been truly inspired by Sade, Jonathan and Michael’s dream to build the new home for NBT. The team feels a great sense of responsibility to carry on the important legacy and build transformative spaces for many generations to come.

Little Wing Lee, Studio and Projects: Designing the interiors of the iconic and historic National Black Theatre led by Sade is such an exciting opportunity. I have a personal cultural connection to NBT.  The centering of the arts at NBT — dance, art and music  — are a part of my own family history.  Both my parents were part of the Black Arts Movement in the 1960s and 1970s.  They were dancers and artists, and my father grew up in Harlem, just blocks away from NBT.  I’m honored to contribute to the legacy of NBT as a hub for black culture in all of its facets. It’s a wonderful opportunity to honor the past, but also design a place for future generations. 

Deborah Moelis, Handel Architects: A unique element of this project’s overall design approach was that each program element required individual care and attention while thoughtfully being integrated into a cohesive whole. This is particularly amplified by the building façade, its ground floor and well as the technical design of elevator, stair, and mechanical shafts. Each were designed in consideration of uplifting the presence of the National Black Theatre while respecting the arduous requirements of a residential building. The programs coalesce at the ground floor, requiring the architecture to knit together the needs of the residential tenants, theater goers, shoppers and loungers carefully within the building and within the surrounding community. A critical aspect of our process was gaining an understanding of the historical significance of the National Black Theatre and subsequently listening to the stakeholders, incorporating their feedback and going at it again and again to hit the right balance and respect everyone’s needs.

A collaboration with so many women is so new, and so wonderfully welcome. I know that the momentum is there and that we will see more and more of it. What did you learn through the process?

Frida Escobedo, Frida Escobedo Architects: Working with so many women has definitely been an incredibly supportive environment. The structure has always felt very horizontal and collaborative. This context has allowed for more process-orientation instead of only focusing on the outcome at the end, which has meant more opportunity for various voices to be heard. 

Little Wing Lee,, Studio and Projects: I’ve been lucky throughout my design career to have worked with many architects that are women on most of my projects. I was an exhibition designer for the National Museum of African American History and Culture in Washington DC and the exhibition design team was primarily made up of Black designers, but almost all of the senior designers were women. My experience at SOM and Atelier ACE were also the same, working with many women architects on all levels. My team personally is also made up of all women architects and designers. I realize that is not the norm in our industry. I’m extremely grateful to continue to collaborate with so many smart, creative and talented women.

Lissa So, Marvel Architects: It’s been wonderful to witness how this diverse group of women are all contributing to the project in different ways, and how true collaboration has contributed to the success of this important project. 

Ashley Murphy, Handel Architects: This project has demonstrated the breadth and depth of participation by women in the development and design professions. Not only is the team led by strong female developers, managers, and architects, but as each consultant joined the team the presence of women increased. Our mechanical, structural, acoustical, and energy compliance engineers, as well as our lighting and landscape designers and our marketing experts are all represented by or owned by exceptionally talented and accomplished women. I am additionally impressed by the age, ethnic and racial diversity of these influential women; all are successfully pursuing their careers and breaking through barriers. Clearly, we are making progress!

How did this process differ from other teams you've worked with? 

Laura Rog, L&M Development: This process has many parties that are heavily invested in the outcome of the project- it is not just a typical development! Given the history and importance of what is being created both for NBT, the Ray brand, and the community – every decision is intentional and considered carefully. The team is also made up of parties from all walks of life and places, which has been fun and brought a fresh perspective.

Adrienne Hepler, Envoie Projects: We do a lot of work with cultural and other non-profit clients, but whenever they are part of larger mixed-use development there’s a lot more coordination and collaboration required. As NBT’s project manager, our job is to make sure that the space developed for them will meet their programmatic goals. NBT is truly unique because of their desire to be fully integrated with the identity of the development and maximize the opportunities for interaction. Because of that, we have a much more involved relationship with the developer as find ways to dovetail the programs of all the various spaces.

Sarah Patton, Compass: There has been a strong commitment by Ray to hear out each persons’ opinions and thought processes. This resulted in not only an incredibly collaborative environment but also conversations that are stimulating, reflective and ruminative providing for a beautiful curation of amenities.

The ecosystem of building is all about crosspollination between disciplines. What were the main challenges, highlights, and lessons learned in this regard?

Laura Starr, Starr Whitehouse: The process has been inclusive and flexible. As landscape architects, we have enjoyed finding opportunities to integrate many fabulous ideas into the various terraces. The overarching desire is that native vegetation will infuse the building with a sense of natural abundance and optimism.  

Allison Robin, Envoie Projects: One of the biggest challenges of working with a large team is that there are a lot of stakeholders and opinions, and sometimes competing needs. Our job is to help communicate the issues and help forge the pathway to the best solutions for the project. We also work to define responsibilities between the various teams in terms of the design, filing and building process. What’s great is that there are so many talented players on the design team and a very clear mission for NBT and what they will deliver to the community so the collaboration has produced a facility which is very special and will be a new landmark for the neighborhood.

Sarah Patton, Compass: With such a broad collection of talent you do get differences of opinion. But through considerate discourse this often brings about amazing insights and innovations. Personally, I find it stimulating to have dialogues where we work collectively with a common goal - to design a product with a strong commitment to culture, art and community.

How does one go about crafting the narrative for a concept that's never been done before? What is the number one take-away you'd like the public and our readers to know about NBT, and this team?

Little Wing Lee, Studio and Projects: As the interior designer, I am pulling from NBT’s ethos and translating that into design. I’m exploring NBT’s art collection and archive for inspiration and to build a bridge between the past and the future. We’re creating color palettes that complement the NBT iconic logo, incorporating the materials and design techniques from the art collection including carved wood pieces and repurposing a number of NBT’s interior and architectural details from its former space. I’m also incorporating NBT’s sacred approach to theater and place making into its public and theatrical spaces, designing interiors that make space for transformative experiences through the arts. We are creating an interior with energy and beauty. 

We are building the future now. Having a team largely made up of women interior designers and architects rebuilding and re-imaging NBT will have ripple effects. I think representation is very important and for women to see ourselves designing and making decisions for this important project in Harlem that will have global and local reach. 

Sade Lythcott, National Black Theatre: The number one takeaway I want your readers to know about this project and NBT, is how much love and care was poured into every decision. For us this is more than a capital project or a real estate venture; it is our manifesto, forged by deep, unabiding love and devotion for our people and community. I want people to experience; especially for Black folx, what it feels like to exist in a space that was calibrated for their liberation. And that it is incumbent upon all of us to lean into the ‘impossible’ as vehicle to create what’s possible.