YELE
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Disaster Relief Studio
Phase 2: Plan & Massing

Disaster Relief Studio

Plan and massing drawings of Phase 2 of YELE including the first studio, recording booth, and reception areaPlan and massing drawings of Phase 2 of YELE including the first studio, recording booth, and reception areaPlan and massing drawings of Phase 2 of YELE including the first studio, recording booth, and reception areaPlan and massing drawings of Phase 2 of YELE including the first studio, recording booth, and reception area
Plan and massing drawings of Phase 2 of YELE including the first studio, recording booth, and reception area

PHASE 2: PROGRAM: In the void spaces, used for years in early relief efforts, the music program will begin to take shape.

Plan and massing drawings of Phase 2 of YELE including the first studio, recording booth, and reception area

Diagrams

Isometrics

Plans

Urbanism

Competitions

Institutional

RELATED RESEARCH IMAGES

RELATED PROJECT IMAGES

Exterior perspective of the final stage development of the YELE music studios and community space with deck and roof spaceExterior perspective of the final stage development of the YELE music studios and community space with deck and roof spaceExterior perspective of the final stage development of the YELE music studios and community space with deck and roof spaceExterior perspective of the final stage development of the YELE music studios and community space with deck and roof space

OTHER PROJECTS

Coney Island will remain a MUTANT appendage at the farthest shore of New York City. Coney is an agglomeration of all of its histories and should continue to simultaneously move each agenda forward. Coney will continue to evolve through mutations— this vision will accelerate its hybridity.
QTCT is tasked to blend these two identities onto one site—a give and take relationship between beach ambitions and urban necessities. QTCT is a sampling of two worlds: on one hand it is the embodiment of the language of the beach and on the other it is a detailed and exacting built urban space.
Infrastructure as urban performance. Serving as both a backdrop to elegant theatrical dances and a framework for holding a wandering public, the Dance Machine enacts performance through both its program and its existence as a merged urban extension of the Queensboro Bridge.
The CART live/work housing prototype adds a vertical profile to downtown while converting an underutilized public path into an urban gesture by introducing of a specialized food cart zone in New Haven. The CART residents would rent and appropriate the moving space as a means of expanding their zone.
The YELE music studio competition, underway before the earthquake, must respond now, but plan for the future of the community. Music is relief in a time of tragedy. The goal is to meet the most basic survival needs now while leaving spaces for future growth through self sustaining phases.
In Tempe there are two pedestrian axes: Mill Avenue and Palm Walk. Mill Avenue is successful and Palm Walk is not. Is there a way to make the palm trees useful to the students? The PEP structure is powered by buried hydraulic pressure systems giving vertical movement to the layer/palm interface.
The Butterfly Theater is a living pavilion—part sculpture, part habitat, part playground. It takes inspiration from the elegance of flamingos and the presence of butterflies in Miami Beach, transforming the park’s open center into a place of movement, color, and quiet spectacle.
The RACA project must meet two demands: A. REFLECTION (museum) or B. CONTINUATION (practice + addition). The current program and its stagnancy has left the site forgotten—it is a typical static museum on a living site. The site and addition must constantly change through the participation of people.

OTHER RESEARCH