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Yale University Virtual Tours offer five different tour experiences you can choose from: Campus, Science, Engineering, Athletics, and Residential Colleges. Take one or all of these tours and experience Yale from wherever you are!

Take a virtual tour of Yale Campus .

If you will like to take a more formalized tour, please reserve your spot with the  Yale Visitor Center  tours.

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The Visitor Center provides campus tours that are geared toward a broad audience of visitors. Undergraduate Admissions also provides separate tours. If you are a prospective undergraduate student you should consider attending an Undergraduate Admissions tour.

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Yale University Virtual Tour

Are you applying to yale explore the campus using the virtual tour below..

Virtual tours are a great way to refresh your memory or to preview an on-site tour of Yale University.

Why a Virtual Tour?

At the beginning of your college search, a virtual tour can be a beneficial tool to explore the campus before your visit. When you do visit the campus, be sure to talk to current students about their experiences. A student perspective is a helpful way to gauge your future experience when attending Yale. Already took an on-campus tour? It's inevitable. All of your college tours will blend, and you might forget the appearance of Yale University's library, dorms, or cafeteria. Use the virtual tour to jog your memory! With the interactive mapping tool below you can even explore the area surrounding the campus.

Use the resources below to start your virtual tour.

Using the Map

Click and drag the little orange person to a location on the map. Locations with panoramas appear as blue lines or blue dots when moving the orange person. The blue dots are panoramic views that you may swivel. The blue lines are paths that you can navigate along.

Panoramic View

You can "pan" or "swivel" the camera around by clicking on the image and dragging your mouse or finger. If you see a white arrow on the picture, you can click or tap on it to move in the direction of the arrow. This will also update the location of the little orange person on the map so you can get a better sense of where you are and what direction you are facing.

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Virtual offerings.

You can still make the most of Yale and New Haven if you are stuck in the house - check out these ideas and offerings that you can do from the comfort of your own home!

Getting to Know Yale Virtually

• Virtual Yale Campus Tours - learn something new about Yale & the campus through these amazing admission tours
• Virtual Tour of Yale's Green Spaces
• Yale University Art Gallery - Virtual Gallery Tour
• Peabody Museum at Home - Virtual Gallery Tour
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• Yale University's Youtube Channel
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• Download Yale Virtual Backgrounds
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New Haven Online

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Yale Schwarzman Center

Virtual Tour

This section of the YSC  website will serve as your virtual tour guide. If you're accessing the site remotely, get comfy and enjoy the sights and sounds in the pages to come. If you're on location, make sure you have the following before you embark on your journey through the building:

Mobile device.  iOS and Android phones and tablets work best.

Wi-Fi.  Enable your mobile data or join Yale's Guest WiFi.

Headphones or ear buds.  This site contains audio content. No audio? No problem. Transcripts are provided.

Floor Plans

If you're in need of floor-by-floor maps of the building, check out our  floor plans  

Here's a look at the virtual tour route. To jump to a specific point in the route, simply click the link. Or scroll down, click "let's begin," and follow the page-by-page prompts.

• Hewitt Quadrangle
• Dance Studio
• The Bow Wow
• The Underground
• West Balcony
• Presidents' Room

Need to use the restroom or fill up your water bottle along the way? We've got you covered.

Let's begin!

Experience Yale Campus Tour

Virtually explore Yale Campus Tour in a fully immersive 360-degree experience.

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Yale University

At home, abroad, working, interning?  Wherever you are this summer, contact OCS or make an appointment for a virtual advising session. We are available all summer! 

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Early Action Applicants, please read this important message regarding delayed test scores from the SAT and ACT September and October test dates: http://admissions.yale.edu/news-and-notes

Yale Quantum Institute

Launch: quantumct public/private partnership for research, tech, jobs.

Some 200 leaders from academia, government, the private sector, and the community gathered Monday at Southern Connecticut State University, for the launch of  Quantum CT . 

QuantumCT is a new public-private partnership committed to accelerating the adoption of quantum technologies in Connecticut and beyond and to positioning the state as a leading hub for quantum-related research, technologies, and jobs, an emerging global market that is forecast to be worth  $53 billion by 2028 , according to QuantumCT. 

Described as having a “broad coalition of partners” including UConn, Yale, and the state Department of Economic and Community Development, a statewide strategic plan is being developed to “ensure that Connecticut reaps the benefits of new quantum technologies that will come onto the market over the next several years.”

Learn more from Yale, UConn here.

“Our plan is rooted in academic-industry research partnerships to develop quantum applications that are relevant to Connecticut industries, such as aerospace, insurance, finance, and biotech,” the ‘about’ section of the QuantumCT site reads. “We are also establishing a pathway for translating discoveries into actual products that companies can sell or adapt to be more competitive in the global market.”

So what is a Quantum Computer? The Yale Quantum Institute shares a Quantum 101 lesson  here.

“Imagine more precise global positioning systems for land, sea, and air. Imagine detecting minute manufacturing defects in microchips or engines before they become dangerous,” the QuantumCT site reads. “Imagine a cryptography code that is unbreakable. Advancements in science and innovation bring us closer to this vision, and the future is within reach.”

The theme of the gathering at Southern was  “Imagining a Quantum Future: New Haven,”  and discussing the Elm City’s strategic position as a center for quantum-related innovation and investment, with panel discussions focused on economic and workforce development.

Learn more about QuantumCT at  quantumct.org  and at  bit.ly/Quantum-CT-New-Haven .

Ellyn Santiago,  Patch Staff - Full article here.

LEAP Announces Three Student Grant Program Recipients for 2024

The Law, Ethics & Animals Program (LEAP) at Yale Law School is thrilled to continue the LEAP Student Grant Program this year. Chosen from a highly competitive applicant pool, three students from across Yale are undertaking projects that build understanding of, draw attention to, and/or develop new strategies to address the urgent threats facing non-human animals. This year’s set of awards will support multidisciplinary projects in documentary filmmaking, comparative animal law, and the history of science. The 2024 LEAP Student Grant recipients include:

Daniel Blokh

Blokh is a senior at Yale College majoring in Comparative Literature and Russian and a writer and filmmaker from Birmingham, Alabama. His LEAP project is "Looking Back with Laika," a short documentary about the famous dog who became the first living creature in space. Through interviews with citizens of the former Soviet Union, he aims to explore the wide range of feelings Soviet citizens harbored toward Laika, from pride and patriotism to sadness and ethical uncertainty. By capturing the wide range of feelings Soviet citizens harbored toward Laika, the film will convey the importance of non-human animals in forming our political identity, our fears and hopes, our ethical beliefs, and our worldviews generally. Laika is an extreme example of the mutual interdependence that characterizes our relationship with all non-human animals, reminding us how greatly our actions impact (and currently threaten) animal life, as well as how greatly animals impact our lives in return.

Ilaria Cimadori

Cimadori is a third-year Ph.D. candidate at the Yale School of the Environment. Her academic and professional interests revolve around animal protection, particularly the exploration of animal protection within national and international law. With her LEAP Student Grant, Ilaria will conduct a comparative law analysis across the U.S., the E.U., and Switzerland assessing the adequacy of laws safeguarding farm animal welfare against detrimental applications of breeding techniques and emerging biotechnologies such as gene-editing. Gene-editing, particularly CRISPR, has an unprecedented power to modify animals' genomes to pursue desired traits — from productivity to fitness — and presents novel issues, like off-target mutations. It is also, however, considered a new breeding technique in addition to the techniques already in use. Thus, a key concern is not only the technology used, but also the design of breeding programs for farm animals more broadly. In the current project, Ilaria will explore how different jurisdictions approach this problem. Because of her commitment to enhancing animal protection and the absence of global consensus on gene-editing applications, breeding practices, and animal welfare coupled with an increased societal concern for animal welfare, Ilaria hopes to provide policy recommendations that would improve the protection of animals in breeding thanks to insights from different legal systems.

Lauren Killingsworth

Killingsworth is an M.D.-Ph.D. student at Yale School of Medicine in the Department of History of Science and Medicine. She centers the non-human in her interdisciplinary scholarship on emerging infectious diseases, environmental history, and public health. Her project examines the practice and history of biological control, the use of living organisms (such as mosquito-eating fish and parasitic insects) to eradicate vector-borne diseases. The strategy gained traction in the early twentieth century as part of imperial public health campaigns. With the LEAP grant, she will study the archives of the World Health Organization, the Commonwealth Institute for Biological Control, and other international organizations involved in this global exchange of species. She hopes to examine the ethical dilemmas raised by biological control: the valuation of different species, attempts to control non-human reproduction, and the promises and consequences of environmental manipulation in the name of human health. 

Read more about the 2023 cohort , 2022 cohort , and 2021 cohort of LEAP student grantees and learn more about the LEAP Student Grant Program on LEAP’s website .

In the Press

Service members and veterans are fighting for the right to fertility treatments, tiktok’s free speech lawsuit has a logic problem — a commentary by stephen l. carter ’79, house republicans’ next target: reports of antisemitism in k-12 schools, xi, in france, offers few concessions on trade, support for russia, related news.

Lowenstein Clinic Calls on UN to Prevent Censorship and Protect Speech of Environmental Defenders at Annual COP Conference

Q&A: Former LEAP Student Fellow Alisa White ’23 on Local Policy Approaches to Wild Animal Welfare

Unique Research on Calving Impacts on Nutrient Cycle Earns 2024 Bormann Prize

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Making the Bed for ‘Slumberland’

A Swedish production about teen insomnia tests the boundaries of storytelling with virtual technology.

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Why can’t I sleep? Anxiety, depression, psychological stress? Or cell phones, distractions, and late-night conversations? The National Alliance on Mental Illness reported that 1 in 3 people in the United States report difficulty sleeping at least one night per week. This also rings true in Europe, especially among youth. A new immersive production gives audiences a chance to hear different stories of why youth in Sweden are struggling to fall asleep.

Slumberland recently closed its curtain—or shut off its headsets—at Connecticut’s Yale Schwarzman Center , its second showing after its U.S. debut at Duke University. It is currently running at Oregon State University through May 11. The production, which blends theatre, virtual reality (VR), and documentary-style storytelling, was born of a collaboration between two Swedish performing arts companies: Bombina Bombast , based in Malmö, and led by Emma Bexell and Stefan Stanisic, and Lost in Time, based in Stockholm and led by Robin Jonsson.

Pillow Talk

Both companies have always been about testing the limits and pushing the boundaries of digital media and the performing arts, and they came together on this project because they both had heard much talk about whether digital media had a positive or negative influence on the theatrical industry. “Talking about digital and analog in such binary terms is really holding back our art form,” said Emma Bexell, “especially since society is so intertwined with technology in our everyday life.” She and Stefan connected with Jonsson when they were all searching for ways to continue storytelling when the pandemic put a halt to in-person theatre.

The idea of telling a story about insomnia began when the headline “Why can’t I sleep?” caught Bexell’s eye in a Swedish newspaper . The story was about a Swedish social worker in conversation with a former Stockholm gang member who discussed the rampant insomnia among young criminals he was in contact with. This piqued her curiosity. “We live in a world that wants us to be awake as much as possible and work, consume, scroll,” she said. “But at the same time these kids have the ability to text a social worker in the middle of the night, and to me that’s also comforting.” Emma began playing with the concept of “making a virtual world that would be a place for rest…sort of like a meditation.”

In interviews she conducted with youth at a community culture center in Malmö about bedtime routines, sleep aids, and sleep hindrances, she found that every single one of them had some form of trouble sleeping. She also asked them to describe their “slumberland”—i.e., their ideal sleep environment. Those responses guided the team to engineer their immersive production.

In speaking with Jonsson about his role as choreographer and co-director, he pointed to the ways in which VR technology assisted in the piece’s creation. In fact, the production’s original two actors only met in the VR rehearsal room. “Ninety percent of the creation process was online and they were in Malmö and we were in Stockholm,” said Jonsson. “They knew each other’s body and body language and voice very well, but they never met physically.”

The actors’ VR suits gave the production team the ability to see their movements and physical activities, so Jonsson was able to block the movements and choreography one-on-one with the performers. The virtual rehearsal room also gave him the ability to be a present for his kids, something he said echoed across the production team. This experience is “socially sustainable,” he said, because even as the production tours in the U.S. he can still be as heavily involved without ever having to leave his children’s side.

New Bedfellows

Their first production premiered in 2022 at IDFA DocLab in Amsterdam in front of a Dutch audience. Since that original staging, the team has been able to increase capacity from 12 audience members to 20 at a time. They have also refined virtual set pieces and continued to incorporate more personal accounts of insomnia in Slumberland .

As they prepared to bring Slumberland to Connecticut audiences, the Bombina Bombast and Lost in Time team were in constant communication with stage management at Yale Schwarzman Center, and with Yale University’s IT department. The entire production runs on a Wi-Fi server—not behind a firewall, meaning if the Wi-Fi drops, the entire production comes to a halt. Before the team arrived in Connecticut, they conducted a stress test to ensure the university’s Wi-Fi could handle the production for the entire 30-minute show.

Preparation also included registering the MAC addresses for each of the 20 Meta Quest Oculus 2 headsets that would be used for a sold-out audience. When the team landed in Connecticut, they ran through a dry tech, which included a training to Yale staff on how to use the headsets so they could guide the audience if there were issues. They also rehearsed contingency plans: In Plan A, the show works from start to finish in the VR headset. In Plan B, if batteries ran out or the server dropped, Yale had a projector on stand-by to project a 2D version of the story onto the wall. Yale’s IT was present for back-up throughout the entire run in case they ran into issues. Luckily Plan B was never needed.

Then it was call time.

The production took place in The Dome of Yale University, a black box-ish theatre (but with white walls). The actor and technician were ready for “curtain call” in Sweden while audiences prepared in Connecticut.

As soon as audiences walk into the Dome, they step into Slumberland . The room has a blue light that runs throughout the space and ethereal audio playing from a Bluetooth speaker. There are 20 circular rugs on the floor with a small round light stand and two pillows stacked on every rug. The audience can move throughout the space, but the rug ensures that every individual knows their boundaries to avoid injury. “Our mission was to see, can we make people fall asleep in VR?” Jonsson said. They failed at that mission, but did succeed in taking them to a new world.

To make the transition easier, particularly for people who have never used VR, the last thing audiences see in the real world is the first thing they see in VR. The story begins with the narrator, played by Carita Ivanova at Yale. Audience members see each other as their chosen avatars. They recognize the person sitting next to them in real life is sitting with them in VR.

The actress walks them through a journey from different bedrooms. Each bedroom resembles a person who documented their sleep experience. When you look up in Slumberland , there are stars, each holding the story of a different interviewed individual. The audience can use their VR joysticks to grab a star, which unleashes the interview of a Swedish youth’s sleep experience. One might compare it to a documentary, only with a live actress narrating the story and walking you through the experience.

At curtain call, when headsets were taken off, there was a round of applause. One audience member, Christine, 16, said that she “really liked the live person that was narrating the story. I felt like it was more natural than sighted AI or text-generated guides.” And while she called the experience “super fun,” she also took away the message about how today’s stressful world affects our sleep.

Bexell, who was physically present in Connecticut, noted that there was not a stark difference between American and European audiences but rather between people who use VR for the first time compared to those who haven’t.

“We see a big difference between age groups in how they relate to the piece,” she said. “Also, younger audiences tend to sort of play the performance like a game. They test the limits of interaction and try it more than an older audience who will follow along more attentively with the stories. I love that our piece can accommodate multiple ways of interacting with it.”

So the real question that keeps us up at night: Is it theatre or is it VR?

It is theatre in the sense that the show must go on, even if technical difficulties arise from one headset, the show continues on. It is theatre because it involves a live actor in every performance, as well as a technician running lights, stage cues and more.

But it is groundbreaking for its capability to bring audiences in from anywhere. As long as there is a headset, the show goes on. With the entire production of actors and tech crew still home in Sweden, Slumberland continues to tour the globe. VR technology also has the potential to increase accessibility for those who may not be physically able to experience traditional theatre.

It is costly from a production standpoint. The Schwarzman Center at Yale University was able to put on the show without charging admission for any attendee, student, staff, or the general public, because they had the resources to bridge the gap between finances and accessibility. Whether other institutions can do the same remains to be seen.

“I want more directors and choreographers to work like this because it’s just so much fun, “ Jonsson said. “It’s like we’ve got this new toolbox for dance and theatre and there’s so much more to do. You can make people fly and they can listen to stories and stars.” The possibilities are endless—and you don’t have to dream them.

Slumberland is currently at the PRAx Patrician Valian Reser Center for the Creative Arts, where it will run through May 11 at the Ray Theater. The production will end its spring tour in Gothenburg, Sweden, at the end of May.

Rachelle Legrand (she/her) is a writer based in Michigan.

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