 Okay, good afternoon everyone. Thanks for your thanks for your patience. We had very little downtime between the last presentation and for the AAD program and this one But it's my pleasure to welcome you to the master of architecture curriculum presentation, I am Mario Gooden director of the master of architecture program and I want to welcome those of you who are here in person and I think we actually have quite a large number of Your cohort who are with us with us online Really, I'm delighted to to have you here today I think the room is still a bit buzzing from the dean's presentation at 130 and I also want to congratulate each of you On being accepted to the to the master of architecture program As the dean Explained and and spoke about Earlier Our planet is going through enormous environmental Social and technological changes these manifest, you know at a number of different scales In ways in which That affect the bodies thinking about space thinking about ecologies politics Aesthetics how these things are entangled and how they intersect These intersections are the terrain Of the various disciplines within the school and certainly The terrain of which we work in within the master of architecture program And so that's why what we do here is so important. Our planet is going through enormous Environmental social technological changes these manifest themselves, you know in various scales In terms of the ways in which they affect the body space ecologies politics and What we investigate here within the MR program is how these are entangled and how they intersect These intersections are the terrain for the for the various programs at the school And this is why you know what we do here is so important and Why we want to be engaged in a conversation with you About this as the dean mentioned In his presentation GSEP has always been at the forefront of leading change in our disciplines starting Over 30 years ago when when I was a student here with the paperless studios the first paperless studios which not only Transform the academy but actually radicalized Architectural practice at the time now it's now it's very common These That change and the change that's needed now is critical and must be both Radically experimental And politically engaged This is what our school Excels at this is what the school stands for and this is what we work so hard to To intensify You know, so here we are You're sort of getting a taste of this today on your on your visit through Through the through our facilities, of course, they're Avery Hall and The architecture program the master of architecture program sits on top of on top of the Avery Avery library, which is the world's foremost collection of Architectural art and architectural Journals books periodicals Etc. But not only And so here you see our studios and hopefully you're having some opportunities to visit this Again Avery library Hope that you will become intimately familiar with I always tell my students You should know almost what every volume is in In the library so know that a 1153 Dot m 37 as a particular architect So I want you to become familiar, you know with the volumes In the library and so when we say, you know Perhaps look at this architect or this building Wikipedia is not a primary source Go downstairs to every library. Okay. That's my little rant about the importance, you know of being in this place and Having this relationship With Avery But not only with Avery and so here you see Avery Hall. We are underneath the ground here, you know our programs and The spaces that you'll be using sort of seat underneath the ground and into fair weather You know as well as to the You know to the maker space, you know, these are all of our sites of Intellectual and creative production The maker space, you know is the space in which, you know We say that architecture is the materialization of concept, you know, and this is where You know where we conduct experiments where we think about how do those concepts Concepts materialize And so, you know, what distinguishes The master of architecture program here at GSAP well one you will hear a number of us say a number of faculty Also other students that we do not presume to know what architecture is That architecture is not a given, you know, these are these are the questions And that architecture is not a preconceived condition So architecture is Is a question It's a question that not only occurs Within the design studio. It's a question that occurs, you know throughout the curriculum And we're going to talk a little bit about the the different sequences Sequences of the curriculum This afternoon But first I want to sort of come back to To something that the dean mentioned Earlier today Which is the notion that what we do here, you know is filled with certain kinds of uncertainties and what We've been thinking about is how can we conduct let's say a radical pedagogy Of uncertainty within the master of architecture program In the source of self-regards selected essays speeches and meditations by by tony morrison Morrison writes my effort to manipulate american english was not to take standard english and use the vernacular To decorate or paint over it but to carve away at its accretions of deceit blindness Ignorance paralysis and sheer malevolence. So that certain kinds of perceptions were not only available But were inevitable. So likewise our program seeks to carve away And question the disciplinary boundaries of architecture So that certain kinds of perceptions and representations that have always existed Are are given presence and this notion of A radical pedagogy of uncertainty Actually goes back a bit to a columbia Economist Name albert o. Hirschman who wrote about the concept of possibleism and uncertainty. So Hirschman wrote Unless novelty creativity and uniqueness take place Large-scale social change cannot occur In the first place if all elements of social dynamics were already known reactionary forces could easily easily foresee and preempt them So the master of architecture program we have our design studios A tech sequence representation, which is part of the visual studies Visual studies here at g-sept history theory Professional practice and electives. And so I'm just going to go through these a little bit to kind of show you how they break down. So in uh, in each of our Our semesters, um, we will have and for example in first year in second year eight studios The very first studio that you'll take in this fall Will be a studio that you'll be assigned to but then from then on out You actually get to select the faculty that you would like to work with In the second semester through the through the sixth semester Then you see the tech sequence and its sections In the third and fourth and fifth semester history theory qh1 and qh2 in the first and second semester and Then you see our other Professional practice and electives and uh and visual studies there in red So in our in our first year, um, which is part of our our core Going back to this issue of questions We're thinking about uh questions and knowledge production In the second year engage practice. So then how do we Implement and begin to kind of put all of these things together In scenarios such as the housing studio, which happens in the Um in the third semester or in the fourth semester where uh, we're currently we're Exploring contested territories And then in the fifth and sixth semester The master of architecture students you in your third year are actually combined with the master of science and advanced architectural design the aed program and as you see There there are 18 to 19 studios, you know forming this vast ecosystem of of possibilities for you to to engage with With students who not only started with you in in first year, but now students who are bringing, you know, varied experiences from all around the world and as I said You know beginning in the the second semester You get to select the the critic that you would like to work with in other semesters in other courses you're selecting the The sections that you would that you would like to be in according to to the time and also according to And according to the professors So let's just take a very quick look at the At the tech sequence and you will be hearing from from faculty Shortly, but the tech sequence is coordinated by professor lolo benalan And and in the tech sequence You know the the tech sequence has been framed around issues of equity and health Climate and energy that you'll be introduced to in the in the first semester in terms of thinking about the environment At a kind of conceptual level structures thinking about High tech as well as low tech and by low tech We mean Earth materials plant-based materials And also design build opportunities for design build at a number of different scales And here you see this is from our tech shop from 2022 Professor benalan is also the director of the natural materials lab And I think some of you probably you visited the maker studio This morning and also the natural materials lab This is work from the last year from From tech two that deals with the structures structures beginning out of at if you will a A conceptual level, but then by the time in tech five We're actually thinking about architectural details and you're inventing details and working on Working on details And this is a team of students Not only working on the details, but thinking about how those those details get represented in the film that they made And this is from the inside out Design build seminar that's led by professor lori hawkinson and professor galia salomonoff. This is from last year You saw the The aviary spot, which was the red version of that in 2021 and this was called the aviary web Or g sap web from 2022 And then representation and we've broaden our kind of thinking about Visual studies To think not only in terms of of data And technology But also how we conceptualize drawing and that drawing is much more than image making but drawing is a way of thinking Drawing is a a production of a certain kind of certain kind of knowledge But then also when we think about computation and we think about you know in this case In this case, bim, how do we want to rethink something like like bim? How do we want to break it? Actually, those are the kinds of experiments that we want to do do here not just take You know what we already know what's already going and going on in practice But actually push the boundaries of what's going on in practice and this is from From professor mark suramaki's seminar of section So, you know a section or a building section again is a way of thinking about space It is perhaps a way to even begin a project such that the section is not simply something that gets cut From an architectural model, but is actually a way of generating ideas fantastic visual Visual visual artists and film artists Josh vaguely who joined us this semester and is teaching This class point unknown cartographic narratives You know America is maps maps are ghosts White and layered with people in places. I see through and josh is very much interested not only in And in the use of of data but data Relationship to representation and then this fall Choreographer and performance artist Jonathan Gonzales is teaching a new course called embodied research So we're actually thinking about architectural representation in terms of in terms of performance And hopefully this is going to make the school of the arts a little bit jealous because we're able to bring Jonathan into g-set and Not up at manhattanville No, also in terms of representation is the graphics project. So as you Work through your three years here There'll be various points throughout the curriculum where you are, you know producing books There is the the maker graph studio that's taught by autotola and Giuseppe Anogno, but also in terms of graduation. You'll be producing a portfolio book That is really about Let's say your argument or your position relative to to architecture and to architectural knowledge production And then in history theory Just briefly and you'll hear from professor ryan hole martin who Is the coordinator of the history theory sequence These are perhaps a couple of images that you saw earlier from from the dean wanting to bring back up a race in modern architecture because You know that project, you know started at g-sep in 2016, I believe and then was published into the significant Very very significant book in 2021 edited by professor mabel o wilson charles davis and iran ching And then recently we had the death lift merton's lecture And this was the ryan hole the what number of it It's been a while with deanna martinez just this past February and professor laura kergans Conflict urbanism And of course professional practice professional practice that you saw primarily happens in the last years in terms of the In the third year in terms of the required course, but actually professional practice occurs throughout the sequence starting with Starting with the first semester in terms of thinking about representation, but also being engaged With city agencies like Like nitsha during the housing semester And we often have People from the professional world whether or not they are architects or artists or what have you come in to Give weekly lectures in all of our studio courses And these are just a couple of examples from the last few years from our professional practice course and events Including the women in architecture. This was from 2020 And then as the dean mentioned Briefly earlier today career services is also Important and then just to give you a little bit of a more taste of the design studios and of the work from The second second semester the first semester studio last last fall professor kristen komplash And again to say that you know that making In terms of thinking about detail in terms of materiality You know begins in the very very first studio Um, doesn't just sort of wait until later, but making as a way of thinking Begins earlier on earlier professor lindsey wittstrom's Core two studio our reviews And then the core three which is the housing semester And this is an opportunity Uh that you will work in teams teams of two in the in the housing studio And this is professor gallo salomonov studio Professor gary baits And these are the housing state has been working On site In new york city Sometimes in manhattan Most recently in the in the south bronx this This studio was working Across the the harland river On the bronx side of the of the harland river and reviews And then the advanced studios An example from david benjamin's Studio materials and climate bernard schumi's studio on studio From last fall a studio that i taught On coloniality and modernity And let me just ask a b is it possible to get rid of this bottom? Thingy here No, it's not possible. Okay, so we're getting some information that's cut off But architecture at gsap is not only about human bodies. It's also about inter About other relationships about interspecies relationships And this is a student who was, you know, looking at water but also water mammals and and pollution This is a professor maliyun wang's studio called plein air Yeah, so to give you all a bit of a taste if you will of You know the studio What happens in the studios but also the the culture of studios and the conversations between Students and faculty and then just recently our kenny kenny week. So during your your last semester All of the advanced studios have an opportunity to travel internationally We had 19 studios this this This spring two weeks ago just two weeks ago traveling Around the world and again as the dean said not in terms of promoting globalism, but actually learning Not extracting but learning with and learning from various locales various cultures about climate about environmental issues about construction about building technology and then, uh, you know Just prior to graduation you will produce a portfolio that will be reviewed by by all of the faculty as a As a requirement for for graduation Just an example of the portfolio one of the prizes Actually one of the main prizes for the mr program is called the nekem prize. This is the uh, this is that student's portfolio of amazing work from in 2022 And then the end of the year show. So now that we're We're Post-covid quote unquote the end of the year show that was your studio The end of the year show will be returning Where we get to Sort of share with each other You know the work that's been produced for for that year Throughout the building So here we are Back at Avery's it's not quite that time of day yet. I think it's still pretty bright outside Um, but now, uh, we do have some time left Um, I want to invite the the faculty who are here who you will be getting to know To come up and we're happy to answer Answer your questions. Uh, professor ryanhold martin Laurie hawkinson uh, zi gemelody Professor lola benalan michael bell To those studios Well, that's who we have a lottery And at the first semester, there's no lottery That's right. There's no lottery because you know, we're just trying to put people together in different ways and you know Kind of mix it up. But then once that's finished then starting from your second Semester in first year you have a lottery and so the in every semester you will have a lottery And the faculty will present the project But in second semester, they might all be doing the same site Right, but they each are different people. So they're going to have a different take on that site And they might have different issues they want to emphasize So they'll be presenting to you All the people in first year and then you will rank Your choices and that goes on for each of the semesters and it gets more complicated In the third year because there are 19 studios as mario said so 19 studios and you have to rank You know your choices and I think I may not be speaking out of turn, but I think dan I mean people usually get Pretty much they're up to their fourth choice or something in the 19 studios. So It's not bad. Yeah. Yeah, it's hard to I would have a hard time And I think your question was also about What freedom the faculty have in terms of what what they teach Was that your question? absolute freedom In in our first first semester The studios are coordinated in terms of a let's say overall syllabus But then each faculty or each critic has their own overlay to that syllabus And that actually goes for all three of the core semesters So that's studio one studio two and studio three the housing studio Although the housing studio has tended for the last several years for Each of the studios to work on the same site But then each faculty might bring a particular emphasis to To that studio topic Yes before yes before the lottery then in the advanced studios studio four five and and six And zia maybe you would like to say something about the studio for now studio for The current Focuses on But each critic is actually working in a different Correct. So region if you will Yeah, I coordinate advance for studio which is second year second semester and I think like mario said each instructors we are eight Uh takes their own site and topics of investigation But there are opportunities where we all come together regularly across the studio period and interchange Critics have student kind of talking to each other and learning from each other. So there are these opportunities of intersections Let's say between these different routes that each instructor So this year like every year advance four is Kind of regional and scope but also it's territorial in scale So we're looking at larger territories when we're addressing the architectural scale so it's also multi-scaled in that sense And like mario said we're looking at contested site this year, which is a little bit more specific than previous years Different architectural programs that I've been exposed to tend to skew towards Studio itself superseding the rest of your forces kind of they they act separate. It's like secondary to the studio And some tend to be everything is very equal in how the workload I guess or the focus that we should be giving them is distributed. What do you what do y'all think? colombia Music to my ears, but um, so I'm ryan hold martin. I I direct or sorry coordinate the um histories histories sequence history and theory sequence. So okay What do you think net zero by 2035? Do you think we can do it? Yeah, he says yes Yeah, so that's a question Right, that's a question that we share. I mean whether we like it or not We share this question and there are many many dimensions to this question Then my colleagues can all speak to and I'm sure you can too And there are other ways to formulate that question You know, that's a relatively pragmatic formulation. Can we do it right? And it might that's something that might point towards studio But even built into that question like who that we may be and who you know Who gets to be on the lifeboat for example and who doesn't and so on and so forth with respect to the we And and then the doing Which is itself Along the whole process that we're discussing when we're discussing matters related to planetary warming Is a centuries long process And so it it does help to learn something about the origins and and particularly in the built environment Not just the technological but the social the economic And the and the political aspects of these You know kind of processes and they're in their deeper history So these are kinds we actually kind of things we try to one way or the other Address kind of across the board in in the curriculum to get to your question So the history curriculum by no means would would we ever our our side of the team ever concede That we're sort of like the service wing You know and and then the studio is the center of the action and I think vice versa You know many of us have been working together for quite a while and And I can just think of all kinds of dialogues and debates and and and exchanges Informal settings like this but also in informal settings That that that in which that you know the kind of who Is who sort of what what is the center and so on is is sort of not the issue because we have these shared Shared concerns so so that's really how I would invite you myself I think others might have other Respectives on on the same issues. Oh, yeah, I love your answer Reinholt and maybe also in respect to building tech And also in respect to what you said mario about breaking BIM or breaking the software in tech And might would argue some here that tech three four and five are pretty Kind of intensive and parallel to studio because we really try to especially in tech five to kind of hack the software not only learn software Tools but also learn what are their limitations and how we can Challenge what the software knows or what is the methodology involved in Uh software is like lca software for instance life cycle assessment And in building tech many of the elective courses are project based So it's in a sense you're Diving deep into a project that involves both research and then design and execution or What we said design build so there is a there's a really commitment or There's a load and energy to that path as well in building tech elective courses too I just should I realize I should add or add a cup just to since people are also giving The kind of nuts and bolts that for the history sequence mario mentioned qa h right which is like our secret code for questions in architectural history Which is the first two semesters. So while people are you all you know would be doing balala Just described and what mario and zia then lori just described about the the the first year In there are two semesters in the fall and spring Of basically our introduction to architectural history in the form of questions And so that's the reason i'm Beginning with the question i did is that one way to because these we don't go, you know into ancient history Per se you have opportunities for that later. This is really a history of the modern Period beginning around 1800 which most accounts of the anthropocene Right the the era of anthropogenic human induced climate change begin with So this is one way to think about this history Sequence it's a history of the Anthropocene So and and so when you go into tech and studio and so on you're working on the consequences of that So maybe from our answers you can learn that there is kind of a nice triangle around studio with the well, maybe it's Like a another polygon I don't know of history theory representation and visual Building tech and professional studies that evolve around and with studio and parlil to studio and has different weights to it so it really depends on you and your The the the thesis that you're building throughout your Degree and Where you put you want to put your emphasis? And But there are opportunities around studio. That's yeah, we should we should move on to another question, but I'm gonna first I have no idea exactly why you asked that question, but it's a very good one and There are moments in studio where people seem to disappear for six or seven days Productivity plunges and you find out that something was doing all the sequencer history theory sequence. So it definitely goes both ways Listen, I would this I came to the school 22 years ago And all of us came here me out with very few of us actually went to school here at mario did um I did very well out here But uh There's a scenario It's a school that has a heavy dose in its history for the last 40 years of history theory And a heavy dose of design and a heavy dose of tech And that agree to which all of those inter relate as much as there is a The the curriculum ebbs and tides in terms of how it's constructed It's often highly constructed from I went to school at berkeley and taught there for years I always had a feeling from a distance knowing everybody here that it was a school that Often had a serious serve in tennis Uh, yeah, yeah, it had a good serve And if you arrived you weren't given a lot of this is a different moment If you arrived you weren't given a lot of you weren't given a lot of time before somebody served And uh, you know as opposed to my I remember people saying to me in school. What do you think architecture is? Uh, I feel like that doesn't happen here But the school published two books that we all know. Well, uh architectural theory since 1968 an architectural theory before 1968 And aside from the content in those books just the fact that they were published You know with a very serious commitment from the school to what that means It was also always I think compensatory to this huge demand that Anybody in the building is creating those relationships. So as much as the school definitely You know works to create them. I feel as if they're often being recreated So climate etc. So that you know the school changes and schools are really only made of whom whom whom is in them at the moment But that that that is you know along with the gsd perhaps that's and princeton That I think this has been a kind of defining characteristic of the school this kind of equal commitment to all of those questions Um, so anyway the question is very good one. Thank you Yeah, well Berkeley Berkeley hired a historian of history and theory As opposed to a historian theorist Maybe more questions Yes, yes that I'll take that so Um, I did a studio last fall on the bqe Anybody know what the bqe is? bqe Brooklyn queens expressways It's a triple decker sandwich Where we gave where we looked we looked at brooklyn heights where there's a triple decker Of the bqe and it's in big trouble because it's falling down total Collapse almost situation they had to take trucks off of it. They had to narrow the lanes And there's a actually a proposal that it might just be we might reroute everybody off of it So what do we do with this big piece of infrastructure, right? So we looked at it as an architectural project this whole kind of long facade of the triple sandwich that has The most incredible view of Manhattan And it's one of the only places where actually there is a view corridor from a public space Which is something to learn about and the reason i'm addressing this This issue to your question is that we met with the communities and we showed our projects halfway in Uh, you know, what all of us were doing because they're very concerned community. I mean the brooklyn heights community Especially but we also met with a number of other adjacent communities and we talked with them And I actually got a uh, this is really fun I got an email from two of my students last week who are now out working in offices And they went to a workshop a bqe workshop And on this and they're like continuing to be involved in it because it's still a very hot issue So, I mean it's something that you know depending and many of the studios are taking real sites because this city is rich with issues And issues that are alive and issues that we're all working on here Here and with the professionals that are also not sitting here or people who are you know in urban design You know with the school and then outside of the school So we have this incredible wealth of people we can draw from to have those conversations. I had a landscape architect on What is today On thursday in our studio to give a crit about waterfront issues because we're looking at rising Water on the east river. So, I mean we have to bring in experts to talk about these things and we have to Sometimes not just have to we go back in the communities and we talk to those people Jinglu's studio from the fall, which is called the street studio that Is in collaboration with the urban design forum and You know does sort of active sort of community engagement in terms of community engaged design Michael, I don't know if you briefly want to talk about your Yes, your cross Bronx expressway We ran a joint studio with public health Yeah, I know it's two highway studios You're probably discussing something more at the building scale. I'm not sure but we did a joint studio with the School of public health peter moining professor public health Where we literally fused the public health course on the public health impacts of the cross Bronx expressway peter's research and architecture and So that they do happen, but I would argue they happen probably more episodically Within the third year studios, although four semester and the Hudson valley No, I think it's a good question. The Hudson valley studio has been which is this advanced four studio mario mentioned Had been really concerned working with communities in upstate new york and mostly either native american tribes Or minority communities and my studio i've been working For three years with an islamic african-american islamic community in upstate new york and now it's extended to statin island We have these people come to to talk to us. It's not only Extractive we don't just go there and take picture but actually we try to interact and have a meaningful conversation for them as well and The fact that we go back over and over to the same place we build kind of a long-term Relationships with that community. So it's also much more meaningful and cumulative In that sense, yeah I think we can take a some more questions since we were Waylaid by by tech technical difficulties Yes A number of the faculty and the dean mentioned this as well during His presentation um also directing initiatives or labs within within the school, so the natural materials lab and You also have galia's housing galia salomon office running the the housing lab that i was going to say the natural materials lab You have summer activities right summer and throughout the year and we When we have positions available they'll be posted on our website, but also sent to you through Office Academic and student affairs. Yes. So so there are possibilities for research assistantships For example with the natural materials lab with the with the housing lab Center for special research, so there if you go to research on the website and the labs and research and centers you can see each Lab or center and their Respected faculty and usually on our website you'll see Open positions. I think also in the studios Especially I can speak for third year that you know a creative will give a topic But it's in my case it's open when I gave the bqe people I wanted people to bring the programs they were interested in developing so it becomes a way to Continue an interest of your own Into you know a third year project Um within a particular site, so you're sharing certain issues together But you're also developing your own trajectory and that's I think throughout columbia We encourage that because you're you're really I'm gonna use the curating word your own You know your own Education in a way because as you learn more you learn more about what you Want to actually focus on right and so I think we have a really broad wealth of seminars and tech courses and electives and even half electives in the graphics Representation sequence, so you know you can kind of pick things up that then can kind of add to What your interests are that you've been kind of accumulating through first second, you know in the different years, so That's super important, right? Together with the questions that we're all asking together, right? Is there another question? Yes, yes, you're correct. There is not a thesis for say but we Ask and encourage that you let's say take a position or that you develop an argument in your in your work and That doesn't necessarily happen at the very beginning that you know what the argument is but let's say over your time here Perhaps you will begin to kind of See that there are certain tendencies There are certain ideas that you're interested in in pursuing and so by the third year you're able to kind of more fully You know engage those in terms of your let's say research agenda or or design agenda That's a good question In the 19 studio, listen, I'm used to Columbia like all of us are But sometimes if you stand back from it and try to look at it from above even if you've been here for a while That question about research assistant. I was a research assistant when I was in graduate school That was an interesting term. I don't particularly hear it so often around here Although I know they exist as probably especially with lola But I do think that the independence that mario indicated that the faculty have In the studios that there is a high crossover between what faculty are doing In their research and in their practice into the studio. There's an academic question that always goes on is the degree to which that's Become something other than the faculty's practice. So But I say it because I don't my my kind of snapshot view of Columbia would be I don't think there's a Many people on the faculty and there's so many. This is just a tiny little group of them Are preaching an architecture that they've already worked out There's a kind of perpetual working it out and mario very elegantly did that that uncertainty phrase that you put over the third year And the quote from the law professor that made perfect sense to me today The reason I bring all that up is that there is a kind of bridging kidney trips, which we talk about a lot I mean my kidney trip, which we just completed with my studio Attied very didactically into people that I work with professionally and academically so the maybe one thing about gsep is That the studios for better or worse are frequently Trying to work out a bridge from what's academic to what's practice To what extent are we a professional school to which extent are we actually asking questions that are above that? And so that's something that it's maybe it's our size and our dexterity when it goes well It goes really well, but it's definitely a lot of options. Yeah But I will add that You know in the school and the in the program practices also a question That practice is not oh, this is what practice is You know that is what practice is but practice is a program and so You know the practicing uncertainty is is a question about what is practice. What does it mean to practice? How do we practice not necessarily professional practice, but how do we practice in terms of production of new knowledge And what is that and all of the ways in which we can produce new knowledge No, I'm just what I realized on the nuts and bolts I mean first of all you will be able to practice when you finish here So don't worry about it We have some very distinguished practitioners of all kinds Yeah, oh, yeah the ones you're talking. Yeah, right. So, you know that yeah Just if those kind of questions are running in the background. These are all basically Given and and it's sort of the platform which everything else is built and this is to the question of research Just in case people are wondering there are Ta ships of various I directs a number of those in the history Side where people who have interest in these areas and they're they're all they all are by application. It's competitive It's a big school. So, you know, there's what in the in in the You know fabrication lab does this ta ships these come with with funding So if you know, you're asking yourselves also those kinds of questions, which we all need to Uh, you know, there are no guarantees on any of these things, but these are also ways in which we do try and it's it's built in It's not it's it's a system. It's not just one off here in here that we try to to offer opportunities to students based on their interest and their capacities to to you know do to work with us in various ways And and then to uh, you know and and and to actually get paid for it Which probably matters just to most of us. So Yeah, maybe to combine both of your questions The research possibilities with perhaps more the academic research that also embeds so many questions to what is architectural science research, what is building science research does it belong to architecture to engineering in between? Where do we publish? Where do we? Should it be applied always but To answer your perhaps two of your questions. Um, the possibilities to being a gra here provides opportunities to perhaps compensate for the thesis track for instance one of my gra just was accepted to a phd and rpi so Bringing that thesis from the research assistantship at the lab can can kind of reinforce and and add to Do you if you are interested in this academic more architectural technology track? So gra equals A gra equals graduate research assistant. That's that's yeah Yeah, so, you know because we have to prepare right zena to build that thing It takes a little semester to kind of get ourselves ready and you know, and that's you know, so it's In development And another secret code kinny, right? So I realize what is kinny? So kinny is an endowment That was given to the school a long time ago that has enabled students all the studios like when you saw You know the thing with the traveling all over the world This is paid for so in case you're wondering those kinds of things too about you know, who pays the airfare The kinny endowment is is the basis Is a stipend? Yeah, so so we could present the fact that we present before and then you know where we want to go and our accommodations and That's part of the lottery in the event That's the basic question So for potential a little bit on it, but for those of us who would want to be licensed in the future Are there any other classes besides studio that really teach that technical side of architecture that specifically deal with the areas And our we have two professional practice Courses one required another which is the advanced professional practice seminar I talked professional practice last fall so We do get into the nuts and bolts of practice of traditional practices, but also The possibility of constructing new kinds of practices Collaboratives we talk about licensure. We talk about different jurisdictions In our we've revamped the professional practice course such that now Two key assignments of that course is one the students form their own practice So we asked the students to Form a practice with others in the course Which could be of any size The students actually write a business plan and they make a pitch to To a group of faculty and invited guests and then the second part of this semester The students then respond to An rfp a request for a proposal and so the students put together and this is what you do in In certain professional practice scenarios So the students put together a A proposal and they actually presented it to a group of faculty as well as Experts from outside of the school who are in the practice world So those are just two examples in the advanced professional practice Seminar that's taught by professor Robert Harman That's an opportunity to go more in depth and to have office visits to have Um He's had Actually one of my old classmates who Has a degree in law and is also an architect. She is the general counsel for rockwell And she's been coming and giving talks every I think for the last five or six years To the to the course But I think you're you know Taking that exam is You know What can I say? So I think we're not going to teach you how to study for the exam You'll pray do that on your own when you get out you'll jam for that But I think you know we many of us practice I was telling ryan hole when we were having our technical difficulties I said oh well friday I was in the world trace and I hadn't been in it Before back there and I had to present Up on the 54th floor to the gsa a general services administration for The design access program for a project we're doing at a port A lamp or a ventry on the canadian border and we went the day before To make sure everything worked Mario no i'm just kidding i'm just kidding No, so it's like you want to make sure everything works You know so that you could like then you get all the stuff in the wheelchair in the right place But so but I think you know it's There's that stuff too But I think it's also living in a world where we practice and there are many different ways to practice Is marisa and I think this idea of inventing a practice because The world of practice is changing Constantly it's not a trend you just get on right it's actually evolving and changing And we're all kind of keeping up with it But also you guys are the guys that are going to create the new practices So I think that these questions that maria's posing are really important for you Anyway, we're excited about what we do here. And so I don't know if there's any last questions Well, we do want to make sure that you all have time to visit the studios upstairs Also that you have time maybe just to kind of walk walk around a bit and then come back for Professor Juan Horos's lecture at 6 30 tonight And I do believe darwin that there's going to be some cookies and tea or something with students Yes, so I work 30 In buell hall I will be standing outside to walk through the buell hall and you'll get to meet with the current lrc student rep So we have two reps for every single year. So all six of them will be there and that will be kind of a closed door Yeah, you can say like are they really telling the truth? To hear more about the student experience of actually being at g-staff So, yeah, that'll be at 4 30 to 5 30 and then after 30 you won't have to get to walk around Go visit the studios and then like maria said at 6 30 the lecture with walton And by the way, I should have properly introduced darwin in who's the assistant director of the master of architecture program So you'll be getting to know darwin very well in terms of advising and in terms of other kinds of questions that you might Okay, so thank you so much guys. Thank you for your patience