 Okay, hello everyone, I'm Jorge Otero-Pylos, Director of the Historic Preservation Program, and I am joined by our full-time faculty, Andrew Dolcard and Erika Avrami. And of course, we are transmitting live from our homes, given the situation of the COVID-19, and I think all of you are watching from home. So we hope you're all healthy and well, and we're looking forward to seeing you next fall. We wanted to give you a sense of the program in anticipation of our open house when we will be holding a live question and answer session with you, and wanted to talk to you in particular about our curriculum, which is an integrated curriculum. This is really a big point of differentiation from other schools, which might be focused in a particular area of historic preservation. We believe our program's strength is that it provides you with a broad foundation in the field of preservation. It's a professional program, it gets you ready to go out into the profession. If you're already in the profession, the program is a great accelerator to get you from one place to another very quickly. Now we refer in shorthand to our curriculum as the SLAB curriculum, and each of these letters in this acronym stand for kind of general research areas that we focus on. The S stands for society, the L for laboratory research, the A for archives and historical work, and the B for buildings, the actual physical objects. Now the whole curriculum is organized around a structure of three studios. Each studio is one semester, and they culminate in a thesis. So that's our two-year program. Each semester is a studio, and then the last semester is a thesis. There are a number of required classes that go along with these studios. So if you see, for example, Studio One, Studio One is really focused on the A and the B, and it's archives and buildings, and it is taught in conjunction with the classes that you see highlighted in blue. So those classes, like traditional American architecture and traditional building technology, feed into Studio One, as well as preservation planning and policy and preservation theory and practice. So the whole curriculum is organized so that these classes are giving you particular important knowledge that is theoretical knowledge, that is practical knowledge, but then the studio, for those of you that have never been in a studio, is learning by doing. It's project-based. So it's experiential learning, and you're taking this theoretical knowledge that you're learning in these classes, and you're putting it to practice in those studios. And we're going to talk about that in a second more in detail. Studio Two focuses more on the S, the A, and the B, and Studio Three has different focused sections that focus on the different aspects of S, L, A, or B up in this lab. As you're going through the program, you're going to be taking electives, which you see here in white letters, and those are going to be giving you deep dives into different parts of historic preservation that might be informing what you want to do as a thesis. And we'll talk a little bit more about the thesis as well. So this gives you an overview of the curriculum. So let's now dive a little bit deeper into that curriculum by looking at Studio One, which is led by Andrew Dohkart. So Studio One is really your introduction to both studio and to preservation. And our objective is to look at different ways that we can understand buildings. And we do that in various locations, but most particularly, we have traditionally chosen a study area in New York, where students have individual buildings that they work on, usually buildings that have not been extensively researched. And here you can see us this past fall. We were out on our early semester field trip talking about how we look at buildings, how we understand buildings, and we do a whole series of exercises, most of which are focused in whatever particular study area we have chosen. So if we go to the next image, we often do a project at Woodlow and Cemetery in the Bronx, which is one of the most beautiful landscapes in the New York area. And the cemetery with the largest number of major monuments and mausoleums in the country. And everybody gets one of these monuments. And it's an introduction on how to look at a building, how to do research, how to understand materials and materials deterioration. We do biographical research relating to the site. And Columbia Avery Library owns the Woodlone archive. And so we get to use the archive to help us understand the history of our monument and the whole complex of Woodlone Cemetery. And here you can see we're getting a lesson in how correctly to use a ladder. Can I have the next, please? Next slide, Jorge. We do a lot of archival work. We are in Avery Library extensively. And if there's no other reason to come to Columbia, it's then to experience Avery Library. It's the world's greatest architectural library. And here we are learning how to use what I call nontraditional resources. We're using atlases and real estate prospectuses and view books and postcards and all kinds of other resources to help us understand buildings. And we go to the library extensively in various courses. Can I have the next, please? After we've done the introduction on how to do research and how to look at buildings and how to photograph buildings, everybody gets a major building in which they have to do the research and the interpretation and understand what the significance of the building is, what its historical significance, what the significance of the materials are, and our buildings vary greatly. This is from this past fall. We had mid-19th century banks, art deco apartment houses. That's a detail of one on the right. And next, and including a number of mid-century modern churches as well. So we're looking at a huge variety of buildings and different ways that we can understand those buildings and assess the significance of the building. And just to give everybody an introduction to what makes buildings so exciting and what they can tell us about a place. And I think that's the most important thing, is the questions that you ask that help us to understand why a place is the way it is and why buildings look the way they do, why they're in the same condition that they are, and how the city can come alive, really, by understanding these buildings. So I look forward to seeing you all in Studio One. So from documenting the building's physical fabric and also the archives associated with the buildings in Studio One, Studio Two expands that to the area of the neighborhood and in this lab curriculum begins to focus more on the people, on the social questions. Erika? So as Andrew explained, the in-road in Studio One is really the building and taking a look at that building to help us understand the broader ramifications of what it is to preserve and why. In the case of Studio Two, as Jorge just explained, that lens really is the community, a broader context of not only multiple publics but also a broader landscape and the political dimensions of what it means to preserve, how things get implemented through policy as well as design and technical intervention. In this case, I was just going to talk about the last slide. Thank you, Jorge. In the case of this studio in Poughkeepsie, New York, for example, students looked at this question of social inclusion along an historic Main Street corridor that's both residential as well as commercial and has had a number of different populations move through over the course of the last couple of centuries. And students applied this idea of preservation to the question of how can this Main Street be more socially inclusive? How can preservation play a role in that endeavor? Next slide, please. In the spring of 2019, for example, we expanded on that notion. We, in fact, looked at the community surrounding the Columbia campus and asked questions about the university's development, about the evolution of institutions in the neighborhood. We looked at how the community had changed. On the left, that's actually a report from the 1950s, looking at social demographics. Andrew was a co-faculty in that studio. And as many of you may know, Andrew's written a book about the architecture of the Morningside Heights area. And this studio built upon that foundation of research about the buildings and really put them in an even broader societal context. Thinking about not only the physical evolution at a neighborhood level, but what it means to be a member of this community today. How the history of multiple publics moving through this community has shaped the contours of memory and place within the neighborhood. And how preservation can take action in positive ways. Next slide. We use a phrase instrumentalizing heritage in Studio Two. And really, that's about how do we take this broad toolbox of preservation, whether it's interpretive design, as you see illustrated here, through an interpretive project, looking at LGBTQ histories at Earl Hall on the Columbia campus, or on the right, a series of an exhibition that was installed at a church that is now vacant in Harlem. In these cases, what Studio Two is trying to do is really think about how the preservation toolbox can be applied toward broadening social participation, enhancing social cohesion, and thinking about how it may also become a means of securing the protection of the environment and mitigating questions of climate change. Next slide. This semester, students were actually looking at Red Hook Brooklyn, a place that has suffered from a long history of flooding that is being even more impacted by sea level rise and climate change. And so students were looking at another question of how to instrumentalize heritage, that of how do we promote equitable resilience through preservation. And through collaborative work, these studios are very, very collaborative, as you can see on the right, that students working in the studio, developing issues and understanding the key problems that the neighborhood confronts through strengths, weaknesses, opportunities and challenges analysis, known as a SWAC analysis. And they're looking to really, again, find ways in which preservation and heritage can be used to promote equity, resilience, and essentially serve as a positive instrument of change within communities. Thank you, Erica. One of the things that I always find amazing about Studio Two is that it really goes to the core of preservation. Because if we're doing preservation, we're doing it for people. That is the purpose. And of course, you also mentioned the other purpose that we're all very concerned about in the program, which is climate change. And it's not an obvious thing, but how we can make historic preservation a tool for positive change towards helping solve the climate crisis. This is so important. And Studio Two has that broad breadth that is able to really get you thinking about just how to do it. Policy is a central aspect of all that. It's so exciting. And well, from Studio Two, we moved to Studio Three. Now, if you put yourself into the program, Studio Two, you're in your spring semester of your first year. And then you're going through the summer. And when you come back in the fall, you're coming into Studio Three. And in Studio Three, we focus different studios. We split up the class into different sections. And some of those sections focus, for example, on architectural design and adaptive reuse. And that is a studio that is done jointly with the Master of Architecture program. So here we travel. So if we went from Studio One working on a building to thinking about society in a larger neighborhood context, now we're looking at a cross-cultural studio. So we're going to a different kind of cultural realities and thinking about what is appropriate, what kind of preservation project is appropriate in this architectural, cultural, social, political context. And so here, for example, just to give you an idea, one of the studios we went to the United Nations in Geneva to work on a new entrance for the UN Human Rights Council building, which you can see over here. This is the conference building. This is the 1920s and 30s League of Nations building. And this over here is actually a project by the students. This is so photorealistic that it almost looks like this building is actually built. But this over here is our student addition to the campus designed by Victor Hugo. Now we've been to other places. We've been working a lot on political buildings, buildings of diplomacy in the last few years, modern buildings. We've been working, for example, one of the projects took us to London, to the US Embassy in London, because this embassy was sold by the United States government and is being now turned to private development for a different use. It's very interesting when you look at the history of the site, the students looked at the research of each of these sites, how they're built up over time. You can see that the site here on the picture on the right was already built before the US Embassy came in. There were some townhouses there. Those were torn down for the embassy. And then, of course, the students here, you see this little frame over here in 2017, they were thinking about how do they incorporate new program through a rooftop addition. So this is very exciting because students think about new kinds of technologies that can be integrated into old buildings to extend their serviceable life. And that goes from structures to mechanical systems to new kinds of accessibility questions. And so we begin to deal with some of the questions at Studio 2. What is the social purpose of this building, the new social purpose? And also, can we think about questions of climate change through, for example, the new systems, the new technologies that are going to be incorporated here? So this is another project where students went to Mexico to work on the US Embassy in Mexico, which is also being decommissioned. And here's a wall section that the students did. We have access to their archives, students' research, the history. So we don't forget the lessons from Studio 1 and Studio 2, but we develop them now in architectural solutions. And so now, for example, the wall section is very important because this building has absolutely no insulation. It's just one sheet of stone in the facade. And that's it. So it has a lot of mechanical environmental problems. So students begin to deal with those kinds of questions and also passive systems, but also really the new aesthetics. How does preservation look and feel is very important for how people can engage with it. People recognize that this is a historic building because of the way it looks and feels. And those interventions through design can also guide our attention to understand what is important, what is significant about the building, what are its character-defining features, how do we highlight those. And so here on the left, you see a project by one of the students for a new entrance that is through the courtyard, the old courtyard, which is here on the right. One of the particularities of the Mexico Embassy is that the lobby was raised up off the ground. So it's a big accessibility problem. People can't get into the building in a wheelchair. So how do you lower that ground plane and create an interesting entrance? So these kinds of questions are what students work on, but we travel, we go to the different places and in those places we actually learn about the history of the building culture, the social culture. We visit heritage sites and understand how the very notion of heritage has evolved within this country and how can we make our design interventions culturally and socially appropriate within the framework, the political, economic, cultural framework of this location. So for that, we do a lot of research before we get there and then we also visit sites while we're there and it's a lot of fun. Now another one of the studios is led by Erica. As Jorge explained, Studio 3 really extends the learning from both Studio 1 and Studio 2. I teach a Studio 3 that's focused on preservation planning. So again, we're looking at these questions of context, the broader issues that are political, historical, social, economic, environmental that are affecting individual sites within that context or that may be affecting the entirety of the community. What we would call an historic city or an historic area or an historic urban landscape. This past fall, we focused our studies on Freetown in Sierra Leone, which has a very long history associated with enslaved peoples. It was in fact, a colony dating back a couple of hundred years where African-Americans who had been enslaved and who had fought on the side of the British during the Revolutionary War were afforded their freedom by the British, transferred first to Nova Scotia and then to what is now Freetown. And likewise, after the abolition of the international slave trade, or at least the outlying of the international slave trade, British Navy forces intercepted slave ships and would emancipate those on board in Freetown. So it's actually quite a cosmopolitan city having been populated by free peoples from all over the West African coast. Students were looking at a number of different heritage resources, including religious resources, houses that date back a couple of hundred years, as well as in the case of the lower left, Bunce Island, which was a slave trading fort on the estuary of the river outside the city. And they were looking at ways in which heritage could become an economic driver and a driver of community development for publics within Sierra Leone. They worked with students from Forabay College. We emphasize that kind of collaboration in Studio Two, but we expand on it in Studio Three by bringing in additional students in our fieldwork, faculty, and a broader array of stakeholder organizations from government agencies to not-for-profits to private entities. Next slide, please, Jorge. In the fall of 2018, we worked in Montgomery, Alabama. As Jorge said, these are cross-cultural and oftentimes those of us who are from the United States might think we're all Americans. But in the case of Montgomery, students learned that there were histories and cultures that were not so familiar to them. Again, we explored slavery histories, but also the histories associated with reconstruction here in the United States and the era of racial terror, as well as Native American histories that were, in fact, not very present in the landscape in Montgomery, even though Montgomery is well-known both for its civil rights history as well as its civil war history being the first capital of the Confederacy. And so students had to grapple with the tensions that all of these multiple histories represent and the stakeholders that are behind each of them. At the same time, they explored physical resources like on the bottom, that's actually an elevation, a drawing from the 1980s and imagery from the present day below that shows changes along Dexter Avenue in Montgomery, which was the final stretch of the summit of Montgomery March during the civil rights era. And so these kinds of questions engage students in mapping techniques using GIS, field data collection techniques, interview techniques, focus groups with stakeholders and really builds a rich set of skills for their use in professional life. Next slide, please. In Lolli Bella in Ethiopia, students focused on a World Heritage Site of Rockune churches. These churches are actually carved out of a mountain. They are monolithic. They're dated about 800 years old. And so they focused on a question of tourism as a World Heritage Site. There are moments and times of intense tourism at Lolli Bella. It's also still a sacred pilgrimage site and has a very strong religious association and a community of peoples that not only undertake the pilgrimage each year but also those who live nearby who frequent the site on a daily basis. And so how to balance these different interests, these tourists who want to engage and who are indeed welcomed at the site, but at the same time, their presence can transform not only the site itself but the surrounding community. And so students grappled with those issues. They undertook more than 151 to one surveys. They did interviews with government authorities, tour guides, et cetera, to really understand the dynamics of tourism and how preservation can help to promote more sustainable tourism and more equitable tourism. Last slide, I think. Oh, not last slide. We actually did two studios in Haiti and Port-au-Prince looking at a series of gingerbread houses. These are sort of vernacular architecture specific to Haiti. And students were looking at A, how they had survived after the earthquake. And in fact, they were very resilient after the earthquake and then B, looked to different policy mechanisms as to how they might be preserved because many are still in private ownership. And in fact, they discovered through a vast survey that they did of over 300 properties, they were able to determine that there is still a number of them that are used for educational purposes. And in fact, a number of schools moved to these houses after the earthquake because of their resilience. And so students were really looking at ways in which they could design preservation approaches that would enable these kinds of institutions and private owners to protect these houses as part of the Haitian and Port-au-Prince landscape while also ensuring their public access and public benefit. Last slide, I think. And all of these studios actually result in a published report. Part of what we are training students to do is produce a professional level report and to be able to walk out of their experience, their studio experience, with a published document that they can show to potential employers and demonstrate their ability to work in a team, to undertake this kind of deep research and proposal development, and to communicate effectively in these cross-cultural situations. Thank you, Roy. Thank you, Erica. This is so exciting. And this is, these reports that are, these reports that are the product of these studios become really central to the protection of these sites. And we've heard many times that the managers of these sites, the people in charge of the sites, have been successful in advancing preservation goals thanks to the information and the work and the research that was done in these studios. Coming out of these studios, students really have a portfolio of works. This is part of their portfolio of works that they do in the studios. And this is very important also for your professional life. This is the beginning of your professional life to have these works. The other studio that we've done in the last few years is a preservation technology studio which focuses on the kind of long wedge of history of digital technologies and their impact in historic preservation as we're seeing the application into preservation of technologies that were developed for other purposes. So 3D scanning, for example, or even drones and surveillance cameras are now being used to 3D scan buildings and produce sometimes replicas of these buildings or they're opening up new ideas about what preservation can be. So in this case, this was a very interesting studio in which a building in Spain, a church in Spain, had been essentially taken apart into fragments and some of them are, some of those fragments are here in New York, some of them are in other places in other museums. And so when you go to the church in Spain now, half of it is missing. And so what they did was to go scan, the students went to scan the pieces of the building that are in all these different places and then try to virtually reconstruct the entire church with all of the surfaces in it. Some other studios have taken on other problems that now through digital technology, we can begin to address. This is a house in Spain that has an incredible collection of Renaissance tiles, each handmade, each falling apart. And the question is, how do we replace this in a way that doesn't look like now we're just putting factory made tiles. So they worked on how to scan the tiles and then how to make replicas of these tiles that they could go back to the surfaces. And if you see over here, they use various new techniques from 3D scanning to using photogrammetry to develop three-dimensional surfaces and models. You can see over here, this is the 3D scan that they develop. It's actually quite difficult to 3D scan a tile because it has a gloss to it that throws off the light. So there was a lot of work that had to be perfected in order to get to this. And then you can see here, the students began playing with how to 3D replicate the mold, which would then be used to make an actual tile with different colors and different enamels that would be put on them. And so they actually fired some of these in the lab and made some replicas. So that takes you through the studio sequence. It's really a robust foundation in the profession. The profession gets you exposed to all the aspects of the profession from the social laboratory, the archival historical and the building aspects, the aesthetics of preservation, the technology of preservation. Once you finish your Studio 3, you move on to really think about what are you passionate about? And you do that in your thesis. And so your thesis is really a year-long process in which you go do a deep dive into a particular subject. Erica and Andrew, feel free to jump in because each of us serve as advisors in these thesis. So we accompany the work of the students in their year-long research project. So here's one example of one student who has been working on testing new line mortar replacements for historic buildings and testing their performance, which one works better and worse. A lot of these are made by industrial manufacturers that make certain claims about these products. Sometimes those claims are not true. And so the thesis is a way to actually bring science to dispel some of the performance claims that are made and to really pick the one that is right. But there are some thesis that focus, for example, on policy. Absolutely. And really take innovative approaches as well. We had a student a couple of years ago, an architect who was very much interested in community-based design and engagement in questions of heritage who not only undertook research within a small community in the country of Columbia produced a video as part of her research where she actually hosted a community engagement activity on site and use that as an opportunity to collect data on people's memories and attachment to the place who lived within this village. And so thesis really is an opportunity to be extremely creative, to be provocative. As Jorge said, you can test things and certainly we always want your thesis to be evidence-based. You are building upon a body of knowledge that's out in the preservation field or in allied fields. But you're bringing to bear a new lens, a new thought, a new avenue that enables you as a burgeoning professional to really begin to chart a path forward in the field. Other theses, for example, are more focused on archival historical work, Andrew? Yeah, so students are choosing all kinds of interesting projects that combine the use of history and architectural history with preservation. So this year, for example, a student is focused on a very important corporate modernist who was one of the people who really defined the character of Los Angeles in the post-war period but whose work not only has been neglected but several of whose major works are about to be demolished. And so she has decided that he needs to be looked at again and is in the midst of writing a thesis that reappraises this architect, Pareya's work. Another student, one of our international students from China is writing a thesis on basically a history of sites related to LGBT history in Beijing, which is really pioneering work. So people are doing all kinds of interesting things and most importantly, topics that they have a real passion for. And other students are working on experimental preservation design theses on how preservation looks and feels. They're looking at, for example, with kind of an experiential interpretive design that has been done in different sites, including light and sound or even smells. So really a broad range, a very experimental range. I think one of the things that really characterizes the thesis that we push for is really they try to take on orthodoxies, things that we believe that people kind of take for granted but they really push the envelope on that. And so they're really research driven. We're very proud of those theses. We encourage you to look at them online. They are on our website. The other thing that some of the theses do is some of the students in their thesis, they might be focusing their thesis along with a dual degree. So we have a dual degree in preservation and urban planning. Some of those students, Erika, maybe you can talk a little bit more about this. Absolutely. For example, we have a student this year who is a dual degree with urban planning and preservation who's focusing on the transfer of development rights and how that has shaped the landscape of New York fairly dramatically where we have a very robust tool of transferring development rights in order to protect historic resources. And so she's chosen a couple of interesting case studies, the Highline, as well as the Broadway Theater sub district, both of which are using what we call TDR, Transfer of Development Rights, with an eye toward understanding how they've not only formally changed the landscape, but also changed the community socially, economically as well. Other students have done theses that engage with architecture. They do dual degrees in preservation architecture. Others, preservation and real estate. So really when you're a student here, you're really a member of the whole school and you're engaged in the whole school. I think for me, one of the really differentiating factors apart from our curriculum and the really the strength of the studio and thesis sequence, which is really widely recognized in the profession as has a tremendous amount of value when you go out and get a job like the Columbia degree. But it's also, I think one of the big differentiating factors is for you to think about who are you gonna be doing this work with? And that's why I want us to spend just a little moment on thinking about, think about the work that you're gonna do here in that context. You're gonna be thinking, you're gonna be working with each other and you're gonna be working with the faculty. And you're gonna be working with each other both in class and out of class. We emphasize a lot of the collaborative nature of our program. We work in teams, as Erica mentioned, in studio two, studio one, but we also have other moments where you can work, where you develop a kind of camaraderie. And we do summer workshops between studio one, studio, studio two and studio three, where you travel abroad. These are sponsored by the school. So we've sent, for example, students to Cuba to work on a preservation project there. We really emphasize being in the place and hands on understanding. So a lot of what we do in class involves going on field trips, actually seeing preservation work being done, seeing preservationists discuss their work on site, visiting important buildings that are heritage sites, like for example, the tour on the left of the United Nations by one of our adjunct faculty, Michael Adlerstein, who also led the sustainable retrofit of the whole United Nations campus as assistant secretary general to the United Nations. So New York is a great laboratory, a great place to see preservation in action. And we believe firmly to take you out and understand the profession, also by taking you into the offices where this is happening. So architects offices, engineer offices, planning offices, municipal government offices. So you really get exposed and begin to network to understand what preservation is. We are, we like to be and we are a small program and we are very proud of that. We really cultivate a community, a scholarly community. We have lecture series every week, either on campus. We sometimes, for example, Erica, you wanna talk a little bit about this off-campus lecture that you organize. Absolutely. So as full-time faculty, in addition to teaching and engaging with students through the classroom and through studios and through some of this field and lab work that we've explained so far, we also have research work that we do. And oftentimes we're able to bring students into those projects as well. I've been working on a multi-year project that's looking at the heritage policy at the municipal level here in the US, thinking about how we can shift more toward questions of inclusion, sustainability, as well as equity. And so on the right, that's just an example of how we included a public panel that allowed for a broader audience as part of one of the research symposia that we hosted, which really focused about 25 practitioners, academics, and policymakers around some of these questions. We've hosted three of them so far. We've been graciously able to host these in the Empire State Building at the offices of World Monuments Fund. And it gives us an almost like a retreat-like atmosphere so that we can really have deep conversations in a safe space and speak candidly about the future of the field. And in each case, I've been able to bring in three students to serve as research assistants as part of the symposia and the projects. I think it's a really important point because we always include students in the research. The students are really part of, like colleagues, they are always included in faculty activities. After the lectures, we always go out to dinner, the students join, get a chance to network, with the speakers and get a chance to really be part of the profession right from the get-go. So it's part lecture, but it's also part career services because people are beginning to develop their persona in the profession in also informal ways. We also organize international symposia at the school on different topics every year. They're called the Fitch Colloquium in honor of our founder, James Marston Fitch, on different topics from experimental preservation technology to the moving of monuments or preservation and war. These are some of the topics that we've covered in recent years, inviting really people that are at the foreground of the big structural changes that are happening in preservation right now to come to Columbia and share their knowledge with us. There's a really fun events. We also cultivate a scholarly culture. There are other scholars, not only the faculty, but we also have visiting scholars, PhD students, and a whole culture of really theoretical, historical, critical work about preservation. And we have the journal Future Anterior that collects that work and also sponsors some of that, some of that research, and we encourage you, of course, to look at those issues that are online. But I think it's important to say this is managed by students. So one of our TA ships is the Future Anterior teaching assistantship that a student really gets to work with the top thinkers in the field to publish their work. Program councils, students are represented, choose a representative and are represented in our faculty discussions in decision making about the program. We share knowledge about where we're going as a program. We really believe in very open dialogue with our students. The students are very tightly knit. It's a really great community. I'd say that it's a very supportive community. It's not competitive. People really are here. We're all invested in you having a rich learning experience that is gonna be long lasting and valuable to you in the long run. I don't know if, Erica, Andrew, you wanted to say a little bit about this community because I always feel that one of the things that I like about the program is I like to be with the people in the programs. They're all people that I enjoy spending time with. And Andrew, of course, is one of them. Well, as a graduate of the program and a member of the community, I always like to say that one of the joys of being a preservationist is that it attracts really, really nice people. And you spend your whole life talking with and dealing with just really fantastic people. And our community is small and very tight knit. And this is a really great asset with our very loyal alumni association. We are able to create an environment both for students and for alums that makes our field so interesting and exciting. I would simply add that when I think about academic community at Columbia, it's well beyond the Graduate School of Architecture, Preservation, and Planning. The university as a whole is really such a tremendous resource of people, of libraries, of research, of think tanks, all of that. I actually am also a graduate of the Preservation program as well as a graduate of Columbia College. I was in the second class that admitted women at Columbia College, so I'm dating myself. But that's to say that I have a tremendous respect and reverence for the overall Columbia University community and we consistently find ways to try and connect outside of the school, whether that is through the research project that I mentioned, which is undertaken in collaboration with the Earth Institute and the American Assembly, which is a public policy think tank, or whether that is finding ways to connect with the School of Engineering on a materials-based question or a documentation question. So it really is such a broad resource of more than 30,000 students and 15,000 faculty and other staff members, if I remember correctly. So you are a part of almost a small city. Yes, I think that's a really important point that the program is really benefits from being both small and have students get a lot of attention, but then you're in this larger school and larger research university that gives you access to all these resources. Well, thank you all for paying attention. Thank you all for joining us for this presentation of our program. We look forward to the Q&A on April 1st and looking forward to meeting you soon in September, back here in New York.