 So, Hilary, I'm so excited to be speaking with you in that very exciting context of your car. And you are obviously a kind of leading architect of your generation, and also we're so lucky to have you at GSAP as leading the course studio sequence, but also in particular the housings to you. GSAP has a very long history of looking at housing as the intersection of architecture and the city, and you really kind of rethought what the studio can be both in terms of relational thinking, you know, focusing on New York, but then comparing New York to other cities, Mexico City and other Miami, Los Angeles, etc. You've thought about new ideas about luxury. You kind of encouraged the invention of new typologies for housing, and I wanted in particular to ask about those and also how housing today, the studio is engaging with questions of climate change through materials and the envelope in particular. Good. Thank you, Amal. It's great to talk to you this morning. I'm sorry from my car, but in these times we are doing this. It's great. Yeah, so I think for leading the housing studio for about 10 years now at the school and teaching with many faculty, we have a really great group of other teachers also working pretty in-depthly on housing, their focus in their own practices. So it's a really great group. I think colleagues that are all sharing in similar concerns, although approaching them in slightly different ways. So it makes the studio a really rich environment for exploring a subject like urban collective housing and certainly being a school in New York City. Columbia is really, I think, has an amazing opportunity because we have, as our main subject, right outside of our doors, something we can engage in on a day-to-day basis, and that's very much part of our studio brief that we look at. So the studio focuses on housing in New York City. The sites we engage in are in the city have primarily been outside of the school, very close, always within walking distance to the campus. Sometimes a little bit of a walk, but we make it over to the South Bronx has been the last probably five years that we've focused more carefully in those particular neighborhoods. That's free to explore. So a range of different affordability levels, questioning issues around market, issues around policy are very much part of the studio. How does architecture engage in policy? And what's interesting about our studio that we have focused on housing for New York is that it's a long history of housing, both in terms of development within the city. But it really reflects the development of housing across the city, across the state, and then across the country. So it's a lot of our housing policies originated in New York City. And then as such, the types of housing evolve in tandem with that. And sometimes you see an invention of a housing type that then in turn influences policy that becomes not just city-wide but national, adopted nationally. And there's a housing project right near our campus that really reflects that from the 50s. And so these are some of the things that start to shape the basis for the studio. So it's not, you know, it's not just that we're designing without thinking beyond a greater issues. And so students get that complimentary of design with also policy, urban planning, historic preservation, real estate development, all of the other disciplines that are housed in our school that you're working on beyond just our architecture program. So it's really great to do that. We're also, a lot of this is reflected too with the other faculty in these other disciplines. And so Professor like Richard Plunts, who wrote a very famous book on housing and design, Andrew Dahlkart has also done a lot of work through historic preservation. And these form some of the basis of our readings are Gwendolyn Wright and Michael Bell. People also like Stephen Hall and Laurie Hawkinson have also been working on subjects of housing and have taught in the studio previously. So we have a really, a really in-depth look at housing through faculty within the studio and beyond as well. And one way that you've really brought that history to bear on the present is through your cut sheets, as well as the transfer, the kind of transcripts that you've done with architects such as Michael Moulton or Tatiana Dabau, sort of bringing that history to this moment and seeing how there are very exciting new practices that are building on that history to rethink housing for today, but also for the future. Completely, totally. I think one of the things to just, we've been trying to keep in mind as the students progress through the core and then go on to the advanced studios is that they will be engaging in many other contexts or we have been until, I'm not sure now, future, but how this will proceed to start to think about the global conditions. But to compliment New York and what the students learn in New York City looking abroad, we have introduced many different housing projects from around the world. Part of it is that the students are also from all of these places and we asked them to bring to the studio examples that they know. And then also we look at those projects in depth through kind of analysis and documentation, drawing, making models, and just trying to understand some of these housing projects through different things, not only policy where possible but things like climate environment, different kinds of just basic understanding of housing, lighting conditions, things like stairs, egress, accessibility through elevators, you know, the most basic things related to, to housing are things we're looking at but then understanding to what our local kind of building materials, how, how are buildings put together, what is available, what is ethical. Some of these questions are all on the table for, for the housing studio to help the students engage in that we've started a series of things called cut sheets that look at both these projects through the kind of traditional representation that we all need to know is projects like plans and sections, and then I've also introduced other kinds of representational drawings, perspectives, renderings, things like this that make each project then unique from the architects perspective. And one of the key questions I've been asking of the students, and perhaps all of the faculty as well, is just if we're working on housing, what else are we doing housing in the United States as a practice has been looked at really as a specialty practice because of all of the requirements needed. And so it seems at times onerous to other kinds of practices that on, even though we really need so much design and housing. And so this way we've been looking at an identifying offices that are doing housing as well as other kinds of design work and that housing sits alongside those design projects in their office and so to think of somebody like Michael Moulton, who was the first architect we looked at for the transcripts and housing series a book project. These architects come and they probably studio specific word housing studio focused on housing a lot. And then from that we transcribe the lecture and complemented with other essays by scholars and practitioners with images and drawings. And the cut sheets kind of start started that whole process and all together we have about 125 examples from New York City but also from around the world for the students to look at each year in the housing studio. We meet two days a week for studio but a third day we meet for just lectures. And there are a range of scholars and experts and other practicing professionals that come and speak on the subject of housing. We've had Roseanne Hager to come to talk about issues around homelessness to someone also like that Oppenheimer to talk about structures and housing. So there's a wide range of expertise that is brought to the to the design studio. I also wanted to touch on your own work because of course you bring just incredible expertise, both in terms of your research you were, you know, one of the first to look at how you know housing and health. And, and, and surely now I think in this current COVID-19 context, you know, bringing focusing on this question of housing and health is really interesting. I'm sure you're already thinking about this for studio. And then I also wanted to touch upon your own beautiful work on housing you've been doing actual housing projects in in in Mexico, as well as in Washington DC. And, you know, kind of where we add when when will we see be, you know, see great images of these projects. Yeah, I think I've been in health and it's intersection with architecture and urbanism for quite some time I was really lucky to participate in project through the Center for Canadian architecture called imperfect health and published an essay there as well as some other texts through Harvard Design Magazine looking at health, the well, well, well issue which was based on travel that I did with students from GSOP to Rio de Janeiro, and looking at a flvella there and the kind of incredible challenges faced through building but yet amazing community of people that live in that flvella and have small businesses and choose to live there as opposed to living in other places where they can and so trying to understand the kind of rich and deep complexity of issues that surround a place like that for instance. And then, you know, looking more carefully through issues of just affordability, equity in the studio in the site for sure in the South Bronx is something that's been important with respect to that and understanding the community there in parallel with places like Mexico so typically the studio has a site in the South Bronx and we look at a certain group of people and try to understand their context here versus where they might be associated with a sort of social association through places like Mexico. And so thinking a little bit about how you have people working and working and living and that's one of the subjects of the studio and also in our own work in my office, trying to understand this different, the differences between places and so New York we've seen a shift from families to households and other cities we're still talking about housing through families and that structure for sure in Mexico we see that the kitchen becomes incredibly important in that case, just culturally and in relation to the dynamic of living in places like Washington DC trying to understand affordability has been through creating in the case of a project I'm currently working on about 63 units of all affordable housing and some for the permanent supportive housing. And that requires larger bedrooms, and it's the same in New York City but in Washington DC the square footage is a little bit bigger. And, and, and there are many more of those kinds of units, and trying to understand that in the context of, for instance the mayor there is doing a much larger initiative and trying to build about 50,000 units by 2025, which is still not enough. And they're not any different than New York needing more more housing, but in terms of the health and in the situation we're in now finding ourselves having to be isolated. How to still have a kind of relationship to the exterior world, both physically but visually being able to have access to light and fresh air. And trying to understand just sequence from entry to your, your own individual unit, and how that happens and we can, one of the things I'm working on right now is researching subject of staircases and vertical transportation and and trying to understand where people actually can mix and to what degree they can mix and interact and some architects you see their work have have reduced this down to people sharing just two units off of a stair and and other things like this and I think it's quite an important research in and if we're going to continue to live in this way of having to isolate but still feel the need to connect at smaller scales, which is different than just completely isolating and correspondingly through video. Well, thank you, Hillary I don't know of anyone or any focus that would be more timely. Thank you so much for your time. I know that I have no doubt that the studio will be transformed one more time and really exciting next year so thank you so much. Thank you Dan address.