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2 Art Colony

Advanced Studio, Spring 2017 Critic: Thomas Phifer

24 Razor Mining: Refueling the Cloud Advanced Studio, Fall 2016 Critic: Michael Young

34 The Aesthetics of Accelerationism Advanced Studio, Fall 2016 Critic: Michael Young

46 Michael Graves School of Design


Architecture School, Fall 2015 Critic: Joel Sanders

64 Flood Planes

Ecological Research Center, Fall 2014 Critic: Peggy Deamer

68 Collab-House

Building Project Individual Proposal, Spring 2015 Critic: Amy Lelyveld

78 Mullet House

Building Project Team Proposal, Spring 2015 Critics: Amy Lelyveld & Trattie Davies

84 Jim Vlock Building Project Built House, Summer 2015 Critic: Adam Hopfner

90 Bushwick Public Library

Library and Rehabilitation Center, Fall 2014 Critic: Peggy Deamer

96 Rome: Continuity & Change

Hand Drafted Drawing, Summer 2016 Critics: J. Hsiang, B. Mendis, M. Brooks, G. Knight & B. Buck

98 Drawing & Architectural Form Hand Drafted Drawings, Fall 2015 Critic: Victor Agran

102 Visualization II

Drawing, Fall 2014 Critics: Sunil Bald & Kent Bloomer

104 Visualization III

Robotic Wall Installation, Spring 2015 Critics: Brennan Buck & John Eberhart

106 Visualization IV

Mixed Media Studies, Summer 2015 Critics: John Blood & John Eberhart

110 Bandwidth

Residences, Fall 2013 Critic: Annette LeCuyer

Correctional Center, Fall 2012 Critic: Martha Bohm

124 Formal Analysis

Drawing, Fall 2014 Professor Peter Eisenman

126 Mediated Landscapes

Urban Planning Studio, Spring 2016 Critic: Andrei Harwell

140 British Landscapes

Imagined Reconstructions, Spring 2017 Professor Bryan Fuermann

144 Bat Cloud

Ants of the Prairie, 2012

148 Wendy

HWKN, 2012

152 Formalist Fold XIV Paprika!, 2015

154 Additional Work


118 Buffalo Correctional Center


View of Residence from Path

Art Colony Chinati Foundation Marfa, Texas The absence of descriptive or obvious stylistic embellishment creates an aesthetic so spare that it is, at times, almost aggressive. Karen Stein, “The Plain Beauty of Well-Made Things” The Chinati Foundation in Marfa, Texas founded by Donald Judd in 1979 was conceived as a place where the relationship between art and landscape could be preserved. Inhabiting former military barracks, Judd allocated various spaces for works by John Chamberlain and Dan Flavin. Today, the foundation houses an extensive list of contemporary artists. The works of these artists are constantly defined by the vast context in which they are situated. This project provides temporary residences for 5 artists to explore their interests in this contemplative setting. It aims to redefine the relationship between an ascetic way of life and artistic production. A blank monolith hovers just beneath the horizon and is anchored into the subtle slope of the landscape. Judd’s late architectural works sit as derelict monuments in the desert. They are uninhabited and act as the only erected structures in a field of unfinished military barrack foundations. The found quality of the site is respected and engaged in a dialogue with the new intervention. The building itself follows the rhythm of foundational traces located to the west. Access to the colony begins along a dirt path that leads towards the existing foundations. A narrow ramp descends into the block and reveals a preserved chunk of desert. Studios, residences, gallery spaces and shared communal spaces are all arranged around this central courtyard and carved out of the monolith. This affords residents moments of surprise and unexpected collaboration as well as the opportunity to meander through multiple courtyards in search of solitude. Thick concrete walls protect and insulate from the harsh desert climate. The building attempts to move past narrative, image, and abstraction and instead aim for pure form derived from experience.

Critics: Thomas Phifer with Kyle Dugdale, Advanced Studio, Yale School of Architecture, Spring 2017 Featured in Retrospecta 40



1/4” : 1’-0” B

Building Model





Plan of






1. Shared Dining 2. Communal Living 3. Artist Studios 4. Galleries 5. Artist Residences

Roof Plan




View of Desert Blowing over Roof




View from Courtyard into Residence


Site Plan



1/4” : 1’-0” Building Model Aerial Views


1/4” : 1’-0” Building Model Arcade Views


View of Arcade &

& Central Courtyard




A Dwelling without an Exterior Preliminary studies for a single artist residence looked at creating space to directly accommodate daily ritual. A number of variations explored the experiential compositions of programs without a focus on the exterior implications of these spatial moves. Gravity as a limiting factor was eventually suspended to test new spatial adjacencies.


Balloon House Study I


Balloon House Study II


This 18”x18”x18” stool was designed to reflect the core principles inherent to the building. Six pieces of raw Hemlock wood were assembled using internal dowel joints. The piece allows light to dance around a voided center.



Drone’s Eye View of Razor Mine, 2056

Razor Mining: Refueling the Cloud A Future Infrastructure for the Internet Reykjavík, Iceland In the summer of 2020, experimental geothermal drilling operations conducted by the energy giant, Networx Corporation, yielded the discovery of a rare new ore: Phreatomagmite. Across the globe, the tech boom coupled with the ballooning middle class population ravaged Indium ore deposits for use in the production of LED surfaces and internet transmitters. The Royal Society of Chemistry’s prediction for the total exhaustion of Indium within the century became a reality in 2022, presuming Phreatomagmite as the only known replacement for the metal contained within all Indium-dependent technologies. This created a demand for new extraction methods to harvest this scarce ore that exists at extreme depths below the earth’s crust. Phreatomagmite contains properties that make it extremely valuable pertaining to its technological applications. In 2024, the Icelandic government commissioned the Icelandic Mining Technology Initiative to develop a system for extracting Phreatomagmite. The committee called for an economical mining operation that could sustain high pressures and temperatures while handling waste in a manner that would not drastically disrupt the appearance of the landscape. Terrabilden Technologie, a German mining and metallurgical site conglomerate, was selected to lead the implementation of the world’s first razor mining operation. The system has been fully operational since 2036, but has become increasingly embroiled in controversy over mounting ecological concerns. The terraformed byproduct has tested positive for the presence of extremophile organisms believed to originate at the deepest points of extraction. Many advocacy groups warn that this sort of “drudging up” of scarcely-studied organisms can have lasting impacts on the global ecosystem. Additionally, despite efforts to conceal the visibility of the access road-structure through algorithmically sculpted byproduct, a growing number of government officials, scientists and environmental activists have taken to the structure itself to stage protests against further continuation of the operation. Many tech companies and government officials, however, continue to advocate in favor of the extraction practices for the sake of the global internet economy and the general advancement of technology. The future of the project remains uncertain as the geopolitical implications grow increasingly contentious with each additional scar on the land.

Critic: Michael Young, The Aesthetics of Accelerationism Advanced Studio Phase II, Yale School of Architecture, Fall 2016



Main Promenade with Terraform Overgrowth, 2051


Extremophile Scan, 2056


Section through Razor Mine and Excavation Robot, 2038


Topographic Scan of Terraformed Excretions, 2034


View of Exhausted Mine Entrances, 2056


Satellite Scan of Subterranean Mining Infrastructure, 2040

Model Detail showing Harvesting Zone


Model Detail showing Terraformed Byproduct and Razor Slits



Steam Exhaust Tower with Mineral Formations

The Aesthetics of Accelerationism Project Alpine, A Speculative Realist Project Reykjavík, Iceland On October 27, 2056 Networx Inc. held a small stakeholders meeting at their headquarters in Reykjavik, Iceland. Alex Gaspar, Chief Operations Officers, opened the conference expressing the nearly century long tenure Networx has experienced as Iceland’s leading energy provider. The affordable access to energy caused many companies to build in Iceland, making it a hub of international corporations. Sector G, an existing geothermal plant opened in 1962, was devastated by an avalanche caused by an earthquake in 2036. The ongoing recovery of this site presented the company with a unique opportunity to study a particular phenomenon. Magmatic fissure swarms discovered below the ice provided the basis for Project Alpine, which combines geothermal and hydroelectric power. Project Alpine promises to reduce debilitating seismic activity ensuring stable energy supply with no more price surges in the energy supply. To explain the ongoing excavation and documentation of Sector G, Mr. Gaspar invited longtime Networx Chief Recovery Management Officer John Lauritsen to speak about the complexity of the operation as well as the invaluable research it has provided. In addition to showing new imaging and analytical technologies, Mr. Lauritsen presented a surprising discovery: Phreatomagmite, a new form of clastite discovered in the zone between the bottom of the glacial ice and the earth’s crust. As was explained later in the presentation, this rock was harvested to create the flexible boreholes that encapsulates Project Alpine’s critical mechanical components. Concluding the presentation, Leila Fisher, head engineer for Project Alpine, explained the technological and ecological development of the project. She drew comparisons to other forms of geothermal and hydroelectric production, stating that the way in which the energy is accessed in Project Alpine ensures the machine has a symbiotic relationship to the naturally occurring phenomenon with the forces below ground that generate energy. These phenomena are the magmatic fissure swarms and the constant freezing and liquefying of the substrate of glacial ice. Project Alpine has completed Phase I of development and has recently entered Phase II for mass-market energy development and distribution.

In Collaboration with Matthew Bohne and Aymar Mariño-Maza, Critic: Michael Young, Advanced Studio Phase I, Yale School of Architecture, Fall 2016



Robotically Cast Excavation Tunnel Surface


Geothermal Pipeline on Vatnajรถkull Glacier


Magmatic Fissure Swarm Map of Iceland




Turbine within Self-Casting Shaft Project Alpine Section


Collected Seismic Data, 2038




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View from Morris Avenue

M icha el G r a v es S c ho o l o f D esi gn Kean University Union, New Jersey This proposal for the Michael Graves School of Design is at once a critique of the banal office park architecture of the site and the programmatic composition of Rudolph Hall. A diaphanous glass box hosts intertwined studio spaces and faculty offices. Rather than a traditional voided center such as in Rudolph Hall, the building is filled with a colored sculptural condenser of shared spaces that include auditoriums, classrooms, fabrication facilities and student lounges. This social center, conceivably caught in amber, is suspended from above and sculpts space throughout the box in order to maintain a dynamic visual connection to the open studios that surround it. It designates a space for student ownership and fosters communication with the greater public by glowing from within. Volatility is engendered by the center’s tension with the rigid box, alluding to the inherent power and activism of the collective student body.

Critic: Joel Sanders, Yale School of Architecture, Fall 2015, Featured in Retrospecta 39

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East-West Section

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North-South Section

Site StrategySite


The School is linked to the greater main The campus school through is linked to the greater a sunken plaza that main campus through a sunken plazaAvenue. that traverses traverses underneath Morris A underneath Morris Avenue. A series of series of field conditions including a set offield conditions including a set sports fields, a sports fields, a forest, andofa parking lot forest,mimic and the a parking lot mimic the existing existing landscape context. These field subdivision conditionsyield in plots the greater context of land for future and also yield plots of land for future campus campus development development.

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View of Studios and Social Center



On the interior, shared social volumes spiral upwards through the center of the studios and offices. The floor plates are pulled upwards and downwards to provide access into these spaces. It is a place of student activism and ownership.


Floor 03 Plan

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Ground Floor Plan

Typical Floor Plan

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Fig. I

Fig. II

Fig. III

0 Degree Rotation

90 Degree Rotation

180 Degree Rotation


Faculty offices read as glowing volumes on the facade. The cube is carved away by a circulation tower, services tower and covered entrance. Louvers shroud the building and provide diffuse light for optimal working conditions. The ground slopes down to meet the anchored cube that houses the seemingly “floating� condenser within.


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Concept Drawings of Scenographic Quality of Center

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Concept Drawing of Social Condenser


Day Lighting Study Model I


Day Lighting Study Model II

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Section Model

Fl o o d P l a n es Ecology Research Center New Haven, Connecticut This project aims to mediate the abrupt juxtaposition of the bucolic landscape of the site with the adjacent commercial context and highway. It also aims to create a totally public site by obscuring the distinction between private labs and public park. By using the context as a generative tool, the major programmatic components of the project are placed in line with existing buildings and turn their backs to the street. In the interstitial zone between buildings, an artificial landscape pushes back on the commercial context, creating an oscillation of land mass and building across the site. A corridor traverses this oscillation, making occupants aware of the contextual mediation occurring on the site. The project aims to suspend inhabitants within and deny the comprehension of a grade level. At high tide, the “flood planes� and corridor flood, destabilizing the ground plane further. The architecture, in effect, blurs the distinction between the natural and the artificial by not only inverting the landscape with man-made construction, but also constantly fluctuating in water level throughout the day.

Critic: Peggy Deamer, Yale School of Architecture, Fall 2014, Featured in Retrospecta 38

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Perspective of Flooded Planes from Lake

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Section Model

Aerial View over Corridor

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Transverse Sections through Corridor

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Section Model

C o l l a b - H o u se Individual Building Project Proposal New Haven, Connecticut The Collab-House is defined by what it prioritizes most: social space. An internal volume of social space thrusts through the house and breaks with the roof; gesturing towards the neighborhood and mediating the corner condition of the site. A collaborative work space on the ground floor snakes upwards through the house by way of a corner staircase, ultimately transforming into a second story living room. This space manifests itself on the exterior in the form of a large dormer. Formal composition is directly linked to the hierarchy of social volumes, connection to the outdoors, and the distribution of natural light.

Critic: Amy Lelyveld, Yale School of Architecture, Spring 2015

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Site Diagrams

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Exploded Axonometric

Floor 2 Plan



Ground Floor Plan

Section A

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Section B

Section C

Section D

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Section E

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Section Model through Collaborative Center



Monster Drawdel, Feat

tured in Retrospecta 38


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Plug-in Diagram

M u l l et H o u se Team Building Project Proposal New Haven, Connecticut The Mullet House is composed of two bars, which separate two distinct elements of the house: the dense utilities bar and the open living space. On the north side of the site sits the dense bar, which contains the kitchen, mud room, and powder room on the ground floor; and bathroom, laundry room, and storage on the second floor. The living areas; such as bedrooms, dining, and office; plug into this densely packed bar, allowing them to be open and flexible spaces. The openness of the living areas extends into the site, where the rooms placed along the bar create an outdoor room, extending the interior space to the garden outside.

Critics: Amy Lelyveld & Trattie Davies, Yale School of Architecture, Spring 2015, Featured in Retrospecta 38 Team Members: Elaina Berkowitz, Francesca Carney, Rob Cornelissen, Ethan Fischer, Benji Rubenstein, Maggie Tsang

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Floor 2 Plan

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Ground Floor Plan

Section through Core and Plug-in Rooms

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Section through Core, Deck, and Plug-in Office

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Assembly Diagram

Section through Core

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Section through Plug-in Rooms

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J im Vlo ck Bu i l d i n g P r o jec t Affordable Residence New Haven, Connecticut Since 1967, first-year students at the Yale School of Architecture have worked collaboratively to design and build a structure as part of their graduate education. During the summer of 2015, my classmates and I constructed a 1,000 square foot house located on a corner lot at 193 Winthrop Avenue in New Haven’s West River neighborhood. The final scheme centers on the idea of a deployable and multi-functional core. The core is efficient, consolidating stairs and utilities to leave the remainder of space open, gracious, and able to connect to the site. The house is a spatial inversion: on the second floor, the core opens into a more private communal space. The density of the first floor is flung to the perimeter of the house on the second floor, creating a thickness to hold furniture and fixtures for bedrooms and bath. The core can be shifted within the volume of the house, which can be deployed on different lots around New Haven. The house is able to adapt to site constraints through the positioning of the core, which can both shield and reveal space. The proposal for 193 Winthrop pushes the core to the corner of Scranton and Winthrop. The core shields the communal space on the first floor from the highly exposed corner, providing privacy and protection for the kitchen, living room, and outdoor space. On the second floor, the view on the corner is claimed by two large windows. This space is multifunctional; lined with a window seat, bookshelves, and desk, it can be adapted to fit the needs of the inhabitants.

In Collaboration with the Class of 2017, Yale School of Architecture, Summer 2015

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Exterior View

Bushwi ck P u bl i c L i b r a r y Library and Rehabilitation Center Bushwick, New York The Bushwick Library and Rehabilitation center hybridizes two programs that mutually benefit one another while providing local residents with literature specializing in topics such as mental illness and addiction. The facility is designed to appear as transient, or simply as a “stop along the way� towards recovery. Patient rooms feature a work station, bed, and personal stack to store books that aid in their journey to recovery. The patient rooms are housed in a fragmented volume that dances around the main anchoring stacks. A mesh canopy allows light to filter into the stacks and create an environment that is inviting for the local residents. This treatment center proposes a new building type in an effort to redevelop the library as a building model that serves the public of today’s world.

Critic: Peggy Deamer, Yale School of Architecture, Fall 2014

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Aerial View of Model

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Street Perspectives

Section through Stacks

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Section through Patient Rooms

Floor 5 Plan

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Floor 2 Plan

Basement Floor Plan

Aerial View of Model

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Section through Patient Rooms & Stacks


Rome: Continuity & Change Santa Costanza Manually Drafted, Ink on Arches Without the use of a single hard line, this hatched illustration explores the emotive qualities of light and form while highlighting the anomalous axial elements of the ambulatory in Santa Costanza.


Critics: Joyce Hsiang, Bimal Mendis, George Knight, Miroslava Brooks, Brennan Buck, Spring 2016, Featured in Retrospecta 39


Drawing & Architectural For m Manual Drafting

This course resulted in a suite of drawings that explored the relationship between traditional perspectival drawing techniques and dynamic compositions. My explorations employed every line in order to create charged atmospheric fields in paper space.

Professor Victor Agran, Yale School of Architecture, Fall 2015






InfinitePeriodic Period Minimal Infinite Minimal Surface Surface Study Study

Charcoal, Ink, Graphite on Arches; Featured in Retrospecta 38

Visualization II Infinite Periodic Minimal Surface Study Graphite, Ink, & Charcoal on Arches. This drawing explores the intertwining of a helical lattice and an infinite periodic minimal surface. Each entity exists independent of the other, never fully synthesizing, but rather coexisting within the same dimension.


Professors Sunil Bald & Kent Bloomer, Yale School of Architecture, Fall 2014, Featured in Retrospecta 38


Interactive Wall Detail & Full Assembly

Visualization III Interactive Wall Milled Foam, 3D-Printed Joints, Mesh Fabric, Arduino Motors The wall is an aggregation of 14 unique bricks that were CNC carved from foam blocks. The bricks aggregate and nest into each other to form the wall without any for nails or glue. The nested bricks are held by friction and connected by 3D printed clamps that cinch them together. Instead of remaining a static partition, the bricks are interactive and responsive to movement. As people move around the wall, the bricks undulate at their centers. A motor pulls the white fabric stretched over each brick inward to its center-- the motion mimics the poking of a belly button. The wall becomes more than a barrier by interacting with its environment. The responsive brick makes it possible to perceive movement on the other side of the wall without having to see it.

In Collaboration with Max Mensching, Daniel Marty, Stephen McNamara & Cecily Ng Critics: Brennan Buck & John Eberhart, Yale School of Architecture, Spring 2015, Featured in Retrospecta 38



British Art Center as Ruin I

Visualization IV British Art Center as Ruin Mixed Media This series of drawings explored a dystopian future for the British Art Center in a world where urbanity has reached uncontrollable levels. A hyper structure sits atop the existing British Art Center and hosts plug-in rooms for inhabitation.

Professors John Eberhart & John Blood, Yale School of Architecture, Summer 2015



British Art Center as Ruin II


British Art Center as Ruin III

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View of Shared Living Room Band

Ba n d w i d t h Residences Buffalo, New York Challenging the typical layout within a residential unit, Bandwidth reorganizes the programmatic elements into a series of layers that filters occupants from private to public and from routine to spontaneous interactions. At the rear of the site, solitary spaces that allow the residents to reflect include sleeping spaces, private bathrooms and personal workspaces. The central band contains services, kitchens, and a central car lift to consolidate routine activities. By opening up these programs to multiple units, the routine band creates permeable thresholds and begins to break down the barriers of the individual unit. The most public layer, adjacent to Elmwood Avenue, unites all of the residents with a single transparent social living room to incite a dialogue between the residents and the neighborhood. Moving through these layers, thresholds expand to highlight the transition from one social condition to the next. The three bands each have distinct structural and aesthetic qualities that relate to respective programmatic needs.

In Collaboration with Ilana Simhon, Critic: Annette LeCuyer, U.B. School of Architecture, Fall 2013 1st Place, City/Life Design Studio Competition 2013

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Section through Living Band, Car Lift, and Bedrooms

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Typical Floor Plan

Living Band Axonometric

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Interior View of Lobby



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Exploded Axonometric


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View of Elevated Public Walkway

Buf fa lo C o r r ec t i o n a l C en t er Correctional Facility and Community Center Lovejoy, Buffalo, New York The current prison system typically outcasts the incarcerated behind a fortress of walls, often leading to a severe disconnect from the cultural ideals of society. This proposal reasserts humanity back into the daily life of the inmate and instills a strong dialogue with the outside world. By bridging the gap between inmate and public, inmates never lose their sense of community and are never isolated from the normalcy and expectations of today’s society. Located in a middle class Caucasian community, the Lovejoy site is adjacent to a lower income community and is bisected by numerous rail lines, both active and defunct. This segregation through routes of connectivity has intensified strong demographic discrepancies amongst neighboring communities. Due to the prior function of the site as a railroad supply company, it is consequently linked to a defunct railway line. The prison would serve as the apex of unity, not only between inmates and the public, but between entire urban contexts as well.

Critic: Martha Bohm, U.B. School of Architecture, Fall 2012

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Public Circulation Inmate Circulation

Circulation Diagram

Residential Lots

Commercial Lots

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Vacant Lots and Defunct Railway

Proposed Elevated Pedestrian Walkway Site of Correctional Center Parcels

Site Analysis


Public Market & C

Community Center



Final Competition Collage

For mal Analysis Diagrammatic Drawing

This collage of diagrammatic explorations investigates the compressed, decompressed, axial, and geometric properties of classical Italian buildings.


Professor Peter Eisenman, Yale School of Architecture, Fall 2014


Aerial View of Proposed Intervention

Mediated Landscapes Urban Planning Studio Bridgeport, Connecticut Upon entering downtown Bridgeport, either by car or by train, one is confronted with the condition of the car and its necessary accommodations. On all fronts, the entryways to Downtown Bridgeport are blockaded by parking garages. In fact, the proliferation of parking infiltrates the downtown area almost equal to that of built structures. The density and walkability of the city are adversely affected by the condition of surface lots and parking structures. The downtown area is very much shaped by the infrastructure that serves the car as well as other modes of transportation such as rail, bus, and ferry. These structures provide a variety of sectional vantage points. However, the level of infrastructural obstruction blocks any views beyond the periphery into the city. Once visitors descend from the elevated garages and train station that straddle Water Street, they are confronted with similar conditions that dissuade pedestrian movement. This proposal aims to take advantage of the accumulation of these multi-modal systems in order to reshape the entry points to downtown Bridgeport and foster pedestrian movement into the active parts of the city. Strategic demolition of parking garage structures, the existing train station, and the underside of the tracks aims to create more views as well as increased physical connection to the downtown area. It also creates a cross-grain of pedestrian walkways that stitch the waterfront back to the city, creating public access to waterfront amenities. The surface parking lots are redeveloped to house various retail and live-work programs. Additionally, the roofs of the existing parking garages host recreational parks. Not only does the proposal create a colonnaded porous ground floor, but it also provides a new elevated infrastructural level in anticipation of rising sea levels. The system generates strong axial connections from the waterfront to the downtown area with the aim of spurring phased new residential development on the many surface parking lots of the city.

In Collaboration with Hannah Novack, Critic: Andrei Harwell, Yale School of Architecture, Spring 2016


Obstructed Views from New York Bound Train


Collage of Obstructed Views from the Train

Obstructed Views from New Haven Bound Train


Concept Collage showing Infrastructural Networks

Various Public Programs


1. Aerial View of Proposed Intervention

2. Proposed Demolition Areas

5. Narrowed Streets and New Pedestrian Paths

6. Boardwalk System

Surface Parking and Parking Garage Structures


3. Post-Demolition View Corridors

4. New Areas for Development

7. New Commercial and Residential Development

8. Phased Residential Development


View of Activated Waterfront from the Interstate


Parking Garage and Surface Parking Occupancy Analysis



Amenity Roof Level Axonometric


Ground Floor Axonometric showing Floodable Zones


Aerial View of Proposed Intervention Stitching Waterfront to Downtown


View of Cross-grain Pedestrian Connections

View of New Train Station


View of New Waterfront Boardwalk


British Landscapes Imagined Reconstructions

This speculative project reimagines and hybridizes various 18th century British gardens and villas. These photorealistic representations aim to construct a more ideal, whimsical, and immersive image than what exists in reality. The diverse set of garden styles ranging from formal gardens to pastoral landscapes that consitute British history are directly interrogated by this suite of images. All images were taken on the course trip to England by me.

Professor Bryan Fuermann, Yale School of Architecture, Spring 2017




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Ba t C l o u d Installation Buffalo, New York Kunsthal, International Architecture Biennale Rotterdam, NL Bat Cloud is a hanging canopy of vessels that is designed and constructed to support bat habitation. From afar, the piece appears like a cloud, hovering in the trees. Closer up, viewers from below would be able to see plants hanging from each vessel. At dusk, onlookers would hopefully be able to catch sight of bats or other wildlife emerging from the habitation vessels. Each vessel is formed in a way to allow bats to enter and inhabit its uppermost portion. The lower volume of each vessel is filled with soil and native plants. The vessels are also designed so that bat guano would collect in the soil-filled planting area, thus fertilizing the vegetation. The lowermost portion of each vessel is constructed in a way to allow for slow water drainage. Source:

Assistant to Professor Joyce Hwang, Ants of the Prairie, 2012

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Wen d y Installation at MoMA P.S.1 New York, New York Wendy does not play the typical architecture game of ecological apology – instead she is pro-active. That is why Wendy is composed of nylon fabric treated with a ground breaking titania nanoparticle spray to neutralize airborne pollutants. During the summer of 2012 Wendy cleaned the air to an equivalent of taking 260 cars off the road. The courtyard at MoMA PS1 was activated by tools like shade, wind, rain, music, and visual identity to reach beyond her envelope. Wendy’s spiky arms reach out with microprograms like blasts of cool air, music, water cannons and mists to create social zones throughout the courtyard. Source:

Team Leader of Volunteers, HWKN, 2012

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Paprika! Formalist F In Collaboration with Wes Hiatt and M

Fold XIV, Fall 2015 h Anthony Gagliardi, Moonsick Gang



My Brain on Geometric Constru

Architecture uction, Fall 2010




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Mixed Media Collage

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Still Life, Graphite on Arches


Robert Yoos Portfolio 2017  
Robert Yoos Portfolio 2017