REBECCA LAUSEN

Portrait courtesy of Rebecca Lausen

Born and raised in Denmark but based in NYC, Rebecca Lausen is a recent B.Arch. graduate of The Bernard and Anne Spitzer School of Architecture. She graduated magna cum laude with a concentration in Architectural History and Theory. She is currently continuing her academic work through independent research in Denmark, when she is not busy reviewing playground designs in collaboration with her two-year-old nephew, that is.

What influenced your decision to graduate with a concentration in Architectural History and Theory?

Growing up in Denmark, much of my education has been dominated by interdisciplinary hands-on learning. For example, we did not have history, religion or political science courses, but learned about historical cultures and events through interactive media such as performance and physical production. I applied to architecture school because I was looking for a field that operated in that same way: a space where knowledge and ideas are turned into a tangible product.

At SSA, the mandatory Survey of World Architecture courses furthered my interest in architecture as a physical manifestation of human ideas and histories. This led me to choose electives associated within this area of study. To me, designing with a sensitivity to the constraints and opportunities of culturally, socially and politically specific contexts is what makes architecture exciting, powerful and meaningful. Graduating with a concentration was a way of formally acknowledging that interest and the work it has produced: I wanted to remind myself, as well as future colleagues, that this is how I want to approach my role in the profession.

Selected spread from archival catalogue on homelessness in New York City. Catalogue was produced in partnership with Chaerin Kim - Courtesy of Rebecca Lausen.

What was the process like in order to meet the requirements of the concentration?

Like many other students I have spoken to, I actually wasn’t aware that pursuing a concentration in Architectural History and Theory was an option at SSA for most of my time there. I only found out coincidentally shortly before my final semester from a student who had learned this from another student. Once I was aware of the opportunity, I reached out to the faculty member administering the concentration. They first evaluated my completed electives to determine which ones would count towards the concentration. Fortunately, I’d already taken most of the required electives, so I still had the flexibility to fit the remaining requirements into my final semester’s schedule. The downside was that it meant giving up my plan to dedicate my final semester to my studio project. Who doesn’t want to end on a high note? The late planning meant I had to sacrifice that, but I’m happy I did.

After my final semester enrollment was completed, the faculty member filled out a form and forwarded this to my advisor who officially registered the addition to my degree title. I was lucky to have been able to fulfill the academic requirements with such short notice, but the administration process was quick and straightforward.

Shifting Ground: the Atlantic Wall as Cultural Landscape on the Danish West Coast Final Research Paper. - Courtesy of Rebecca Lausen.

Considering the course is not actively suggested to students at our school, what were some of the obstacles you faced throughout the completion of the courses?

I think the biggest obstacle in pursuing this concentration is that elective courses aren’t valued on the same terms as a Studio or other design course. I’ve often felt expected to compromise the quality of elective coursework to keep up with Studio work. During crunch time, my history and theory electives have always adjusted workloads and deadlines to accommodate Studio requirements, but rarely vice versa.

I think the studio setting is essential to the architecture program. Work happens there that I can’t imagine happening anywhere else. That said, I think the “studio comes first”-mentality that I have experienced in architecture school is counterproductive and results in missed opportunities. I believe that knowledge of architectural history and theory is just as important as studio classes in making you a better designer. I wish there were more moments in the program when substantial research and design could come together.

Brunelleschi’s Device: Perception of Space at the Brooklyn Bridge - Courtesy of Rebecca Lausen

What were some of the courses that you took?

For my electives, I tried to select a diverse set of courses. Looking back, I’d say that all of them shared at least some interest in urban environments, but they approached this from very different perspectives and differed in scope and scale.

To give a few examples, the City in History primarily discussed a curated selection of historical and present-day cities’ built environments and their relationship to urban government. Meanwhile, operating at a much smaller scale, Activist NYC studied the relationship between space, place and activist movements in the history of NYC. Like all my electives, the structure of classes consisted of weekly readings and reading responses, which are then discussed in part discussion/part lecture seminar classes. In addition, most had a semester-long research project, leading to a final research paper and/or other final, writing-based presentation.

For the research project, both the City in History and Activist NYC encouraged students to educate themselves on civic influence on social and environmental justice issues: for the City in History, I researched and wrote about the consistent underrepresentation of minorities across NYC community boards. For Activist NYC, my team member Chaerin Kim and I researched housing and homelessness activism in NYC, resulting in an exhibit of visual material accompanied by a written exhibit catalogue.

In addition to these courses, I would like to highlight the course Introduction to the History of Landscape Architecture. It’s mainly meant for Landscape Architecture students, but there are a few spots reserved for B.Arch. and M.Arch. students as well. It’s a really interesting class that approaches the topics in ways I did not expect. It was an important reminder that architecture does not end at the building exterior. You are given the freedom to research a topic you’re passionate about with the necessary guidance, and class discussions are very student-driven. I really appreciate this, because Landscape Architecture students have a lot of smart and eye-opening things to say.

Shifting Ground: the Atlantic Wall as Cultural Landscape on the Danish West Coast Final Picture Board - Courtesy of Rebecca Lausen

What would be your advice on future students who would like to focus on this concentration?

Start planning as early as possible. Getting the paperwork together is simple but fitting all classes into your schedule doesn’t happen in one semester. Reach out to the faculty in charge to find out which electives qualify, which ones interest you and when they are offered - not all courses are offered every semester.

Also, I know that some students might be intimidated by reading and writing requirements. Though less avid readers and writers will be more challenged, I think letting this hold you back is a mistake if you’re passionate about the subject. Speaking as a slow reader, reading volumes can be overwhelming at times, but the content is generally worth the effort. As for writing, my experience is that theory professors are there to help you improve your writing skills, not punish you. Though the architecture field is dominated by visual communication, good written communication skills are extremely important as well. Theory courses are a space to develop those skills before you go out to write cover letters, promote your work and communicate professionally. If you struggle with writing, you’ll be working harder than those who do not, but you’ll get so much more in return.

Finally, I urge students to be proactive in exploring their academic options, even if they have no idea what these might be. For many of my colleagues, pursuing a concentration wasn’t an option because they weren’t aware that it existed before it was too late. Insist that your advisor gives you thorough information about academic specialization. Ask faculty whose classes you like if they know of any related academic specialization options. There are a lot of opportunities out there, the sooner you find out, the easier it will be to pursue them!

Professor Frank Melendez guiding Rebecca pilot the drone - Courtesy of Rebecca Lausen