In 1999 Raaf began experimenting with transforming common elements of household and commercial building interiors into informative and metaphoric interfaces. Her first artwork along this line of inquiry was the Unstoppable Hum (1999). This was a large sculptural artwork that monitored various electromechanical activities in a building such as automatic doors, security, ventilation, computer and phone systems. It tracked their patterns of activity and then created musical compositions on the fly based on the complexity of activity in that space. Visitors were thereby informed about how often the structure around them was working towards maintaining the safety and comfort parameters of their habitat. In 2002 she created Dry Translator which included two custom designed audio vests and an interactive wall. When a gallery visitor touched the drywall of the gallery, they heard the sound of their touch not locally where their fingers hit the wall, but actually on their own torsos as the sound was amplified and transmitted wirelessly to the audio vest they were wearing. The walls thereby became skin-like extensions of the participant’s own body. Participants were also able to record a series of touches or gestures on the drywall via an interactive console and, in doing so, leave a “touch message” for the next participant to play back on the vest. 

Her most recent research continues to focus on architectural interfaces but now also on telepresence and weightlessness. She produced a new series of video enabled rovers (robotic vehicles) which participants may use to roam through accompanying sculptural superstructures. This work was inspired in part by the exploratory rovers sent to Mars in recent years as well as the concurrent proliferation of webcam feeds on the Internet. She is also currently focused on responsive environment design. This is a field of practice that combines smart architecture and infosthetics (real-time information visualization). Her area of interest within this field is combining interactive systems with experimental architectural forms. These methods allow her to create ambient social infrastructures as well as to generate emergent datascapes. In creating works like these, she hopes to add a future where technological innovation points further towards giving each person access to a deeper understanding of, and enhanced connectivity with, the world around them.