Yale School of Architecture

2015

lauren raab Yale School of Architecture

Selected Work

T his p o r t fo l i o i s a c o m p l i a t i o n of d es i g n a n d rep res en ta t i o n a l wo r k c o m p l ete d a t t h e Ya l e S c h o o l of A rc h i te c t u re . I h a ve i n c l u d e d f i ve d e s i g n p ro j e c t s : t wo a d va n c e d st u d i o s , a n u r b a n st u d i o , c o m p re h e n s i ve st u d i o , a n d t h e f i r st ye a r b u i l d i n g p ro j e c t . I h a ve a l s o i n c l u d e d a s e r i e s of d ra w i n g s f ro m v i s u a l i z a t i o n a n d re p re s e n ta t i o n c l a s s e s

Contents

H ang i n g G a rd en G rotes q ue Ad van c e d St u d i o H e rna n D i a z A l o n s o C l o i ste r w i t h o u t G ro u n d Ad van c e d St u d i o Pete r E i s e n m a n Long( er ) W h a r f Urban St ud i o B im al Men d i s C as is H ea d q ua r ter s C om p reh en s i ve St ud i o M ark G a g e C o u r t ya rd H o u s e B u i l d in g P ro j e c t Tra t t i e D a v i e s

Pa l l a d i o V i r t u e l I n te r n s h i p a t E i s e n m a n D ra w i n g a n d Re p re s e n ta t i o n Visualization Series

Advanced Studios

Subtle Detailing

T h e s c h e m e u s e s t h re e b a s i c t y p e s of c o m p o n e n t s w h i c h a re re p e a te d t h ro u g h o u t t h e p ro j e c t . T h e s e a re : g o l d e d l e a f s p h e re s , w h i c h we re d e r i ve d f ro m t h e o r n a m e n t o n to p of t h e o r i g i n a l S e c e s s i o n M u s e u m , c o n c rete st r u c t u re , a n d a g l a s s c a s i n g . S m a l l p i e rc i n g s , w h i c h c a n b e s e e n i n t h e i m a g e s o n t h e l eft a re u s e d to h o l d e l e m e n t s i n p l a c e .

MRI Section Cut

I n ste a d of t ra d i t i o n a l p l a n a n d s e c t i o n d ra w i n g s we u s e d t h i s s e r i e s of ‘ M R I ’ st i l l s to c u t t h ro u g h o u r d e s i g n . T h e st i l l s to t h e l eft a n d o n th e fo l l ow i n g p a g e s how a s e qu e nt ial c u t t hrou gh of t he b ui l d i n g s i n ter nal spaces and massing.

Presentation

We presented our final animations on a s e r i e s o f t h re e large 80 inch screens. The three sepa r a t e a n i m a t i o n s worked together, aligned at some poin t s a n d u n a l i g n e d at others, to convey the entirety of the p ro j e c t . T h e three images on the right were three f r a m e s t h a t w e re shown in tandem.

02

Cloister w/o Ground This project sets out to construct an antinomic and iconic sacred space by using a scheme of enclosure, drawn from the church cloister typology. By juxtaposing two urban fabric of object buildings, our scheme creates a typological resonance of difference. While enclosure typologies conventionally disconnect external forces from a stable interior condition, our enclosure system forces the aggressive movement of the trains travelling through New Haven to become part of the event of the cloister.

This dramatic gesture results in a cloister without a ground and amplifies an external force internally.

Critic: Peter Eisenman, with Miroslava Brooks Partner: Huizhen Ng _ Published in YSOA Retrospecta

Piazza del Popolo Precedent Study

Although the exter nal facade s a n d m a s s i n g s o f S a n t a M a r i a di Montesanto and Santa Mar i a d e i M i r a c o l i , b o t h l o c a t e d at the south end of the Piazza d e l P o p o l o , a p p e a r t o b e almost identical; the site of S a n t a M a r i a i n M o n t e s a n t o i s slightly narrower.. The plan o f S a n t a M a r i a d e i M i r a c o l i is radial, while Santa Maria in M o n t e s a n t o ’s p l a n h a s been stretched ver tically and re s e m b l e s t h e p l a n o f a Greek Cross. Despite the vari a t i o n i n s h a p e b e t w e e n the two, the critical difference s t e m s f ro m t h e a d d i t i v e versus subtractive nature of t h e n i c h e s s u r ro u n d i n g t h e central volumes in each churc h . S i n c e t h e f a ç a d e s o f both churches are almost ide n t i c a l , t h e d i ff e n e n c e i n p l a n emphasizes the ambiguous re l a t i o n s h i p b e t w e e n i n t e r i o r and exter ior of each.

Santa Maria della Pace Precedent Study

The primar y difference betwe e n B r a m a n t e ’s S a n t a M a r i a d e l l a Pace and Laurana’s Palazzo D u c a l e i s a r t i c u l a t e d i n t h e i n b o a rd cor ners of each. Laurana’s co r n e r s a re t h e re s u l t o f j o i n i n g t w o distinct walls. The completion a n d t e r m i n a t i o n o f e a c h w a l l i s crucial: each wall star ts with a g i a n t o rd e r p i l a s t e r a n d e n d s w i t h a giant order pilaster. The cor n e r i s s i m p l y t h e re s u l t o f t h e re s i d u a l space between two walls. Bra m a n t e , o n t h e o t h e r h a n d , u s e s t h e cor ner as a hinge, or two dist i n c t w a l l s i n t e r s e c t i n g e a c h o t h e r, t o complete the sequence of mo v e m e n t b e t w e e n s p a c e s . I t i s a l s o impor tant to note that Lauran a ’s c l o i s t e r u s e s a n o r g a n i z a t i o n o f five bays, whereas Bramante’s d e s i g n i s c o m p o s e d o f o n l y f o u r.

By employing four bays, Bram a n t e ’s d e s i g n re s u l t s i n a c o l u m n i n the center of each interior faç a d e i n s t e a d o f a v o i d , a n o t i o n t h a t fur ther ar ticulates Br am ante’s i d ea of i nfi ni te s p ace.

Piranesi & Nolli Precedent Study

In his map of Roman antiquity, P i r a n e s i p ro v i d e s a d e t a i l e d rendering of existing Roman r u i n s , i n w h i c h h e i g n o re s t h e existing city fabric and projec t s c o m p l e t e d a n c i e n t b u i l d i n g s o n t o an empty landscape. The for m o f i n d i v i d u a l b u i l d i n g s b e c o m e s most impor tant in Piranesi’s m a p , a n d , c o n s e q u e n t l y, P i r a n e s i does not provide any infor ma t i o n o n l i n k a g e s b e t w e e n b u i l d i n g plans. Nolli, conversely, emp h a s i z e s p a s s a g e s a n d p u b l i c s p a c e throughout the city by employ i n g a f i g u re - g ro u n d re p re s e n t a t i o n of built space throughout Rom e . I n t e r i o r s o f ‘ e n c l o s e d p u b l i c spaces’ such as churches an d p u b l i c c o u r t y a rd s a re h a t c h e d , and thus are read in relation t o s t re e t s a n d o t h e r p u b l i c s p a c e s throughout the city. Piranesi p l a c e s i m p o r t a n c e o n e a c h b u i l d i n g individually, de-emphasizing t h e i r re l a t i o n s h i p t o e a c h o t h e r ; Nolli, however, accentuates p u b l i c s p a c e s a n d c o n n e c t i o n s throughout the city of Rom e.

Core Studios

03

Long(er) Wharf The Long(er) Wharf proposes a continuous housing development near South Boston, that connects the existing cruise terminal to the convention center. The idea of a Wharf, as shown to the right, which was an active commerical and residential hub in the city, and extends its conceptual logic into the contemporary city. Thus, the Long(er) Wharf becomes a new armature for development that both extends the harbor into the city and provides a new link between the city and the water.

Critic: Bimal Mendis Partners: Maya Alexander + Ben Smith _ Published in YSOA Retrospecta

40 ft Long Elevation

T h e d ra w i n g to t h e r i g h t i s a c o m p l ete e l eva t i o n of o u r m i l e l o n g b u i l d i n g . T h e i n b et we e e n s e c t i o n s a re a fa n ta sy, b u t h o l d to t h e i d e a t h a t e a c h s e g me n t of t h e b u i l d i n g h a s i t s ow n d i st i n c t c h a ra c te r i st i c . We t h e n p r i n te d t h e e n t i re d ra w i n g o n my l a r p a p e r ( s h ow n o n t h e n ex t p a g e ) a n d c o m p i l e d i t o n to a b o o k t h a t c o u l d b e u n fo l d e d i n to a 4 0 fo ot l o n g d ra w i n g .

04

Casis Headquarters This project proposes a headquarters for the CASIS organization in New York City that explores the notion of scale, scalelessness, and the relationship of solid to void. The solid as auditorium space, conference rooms, and offices; and the solid. Experientially, the object becomes an infinite surface against which space objects are displayed, and visitors circle up and around the object to experience this from mulitple vantage points.

Critic: Mark Gage _ Published in YSOA Retrospecta

precedent study / china art museum with: jack wolfe & zach veach

precedent study / china art museum with: jack wolfe & zach veach

05

Courtyard House As a team, we challenged how one builds and lives in a suburban neighborhood. Aiming to wholly integrate indoor and outdoor spaces and fully utilize the side yards, we designed a house that offers every room a private view into a courtyard. Running the buildable length of the lot, the house is organized into a series of boxes and joints, and the joints the service spaces. Each joint is paired with a bay window and a courtyard, so that where the house pushes in it also pushes out. This creates a rhythm of dynamic spaces, each of which engages with the exterior in a unique and complete way.

Done in a group of 7 students, over a period of 5 weeks _ Published in YSOA Retrospecta

150’ Lot

105’

1’:12’ Ramp

Retaining Wall

10’ Sideyard

Lilac St.

3’ Bay Window

35’ Lot

8’ Sideyard Paved Patio Deck 2’ Above Grade

Deck 2’ Above Grade

N

6’ Porch

6’ Porch

19’ Setback

26’ Setback

32 LILAC STREET, NEW HAVEN, CT 06511

SITE PLAN C

CLIENT:

Team:

NEIGHBORHOOD HOUSING SERVICES INC. 333 SHERMAN AVENUE, NEW HAVEN, CT, 06511

Date:

APRIL 29, 2013

Scale:

1/16" = 1'-0"

1

2

3

4

18'-0"

A1.1

5

6

14'-0"

12'-0"

12'-4"

10'-4"

DINING

W-1

W-15

DOWN 6R

REF

103

13'-9 1/2"

12'-3 1/2" 14'-4"

DW

2'-4 1/2"

DINING COURTYARD

2' - 0'' 105

BEDROOM

5'-11 1/2"

W-26

WOOD DECKING

W-30

5'-2 1/2"

W-26

W-28

111

W-12

B

PORCH

BUILT-IN CLOSET

BUILT-IN SHELVING

W-26

112

RNG W-15

106

BEDROOM

W-10

W-13

W-6

109

MASTER BEDROOM

10'-11 1/2"

6'-0"

6'-4"

KITCHEN

W-14

UP 5R

MASTER BATH

GARDEN COURTYARD

W-26

10' - 11''

PRIVATE COURTYARD

10'-11"

W-7

11'-6"

W-23

W-12

7'-1 1/2"

W-23

4'-0"

W-4

108

BATH 3'-2"

9'-6"

W-12

W-23

110

2'-0 1/2"

13'-3 1/2" 15'-10"

17'-6"

LIVING 24'-5"

10'-3 1/2"

15'-10"

101

WOOD FLOORING

20'-0"

DOWN 6R

4' - 2''

BUILT-IN SHELVING

W-24

107

STUDY

TILE FLOORING

102

W-24

24'-0"

6'-11 1/2"

ENTRY

1' - 5'' 2' - 5''

PORCH

6'-0"

W-24

104

12'-0"

105 BUILT-IN CLOSET

W-7

W-23

10'-5 1/2" 12'-4 1/2"

7'-6 1/2" 9'-4"

5'-6" UP 5R W-5

BUILT-IN WINDOW SEAT

1' - 0''

W-23

3'-4 1/2"

22'-0"

W-2

7'-2 1/2"

4'-0"

A

1'-9 1/2"

16'-4"

12'-4"

6'-0"

WOOD DECKING

TILE ON GRADE

A1

A1

A1

A-3.1

A-3.2

A-3.3

32 LILAC STREET, NEW HAVEN, CT 06511

PLAN C

CLIENT:

Team:

NEIGHBORHOOD HOUSING SERVICES INC. 333 SHERMAN AVENUE, NEW HAVEN, CT, 06511

Date:

APRIL 29, 2013

Scale:

1/8" = 1'-0"

A-1.2

precedent study / new haven vs. moriyama house stick frame model: studio davies collaboration

h e r re s h off 5 0 ft c l a s s b o a t individual precedent study

Palladio Virtuel Exhibition

06

Palladio Virtuel Before beginning graduate school, I worked on the opened at the Yale School of Architecture Gallery in the Fall of 2012. The exhibition and subsequent book villas and palazzos. During my time working on this of drawings. These drawings worked to illustrate how A, B, and C spaces affect the virtual reading of spaces, and futhermore they begin to analyze the irregularities and asymmetries of the buildings. Photographs are of drawings in the exhibition while at Yale School of Architecture.

Position: Intern at Eisenman Architects _ At Yale School of Architecture Gallery

Palladio Virtuel i n sta l l e d a t t h e Yale School of A rc h i te c t u re G a l l e r y. ( p h oto c re d i t , YS OA ) .

A’ B’

A C

B’

A A’

A B/C

B C B/C

B

A

C

A B C B A

Palladio Virtuel installed at the Yale School of A rc h i te c t u re G a l l e r y. ( p h oto c re d i t , YS OA ) .

Drawings & Visualizations

visualization 4 / summer 2013 in collaboration with: alissa chastain, michael miller

visualization 1 / s2012 l o u i s ka h n s ta i r

visualization 1 / s2012 old campus portal

visualization 2 / f2012 2d, 3d translation

visualization 4 / s2013 with: alissa chastain, michael miller

Books & Architecture

visualization 1 publication / s2012 student editor

B o o ks & A rc h i te c t u re E l e c t i ve / s p 2 0 1 5 256 assignment