 Thank you, David, for taking the time today to speak about your own work, but also what you've brought to the MRX Advanced Studios in particular. I mean, in your own work, you're really a kind of leading architect of our generation, thinking about the issues of climate across all scales, especially the material scale and beyond. You were one of the first ones to kind of bring the question of embodied energy to architecture and the recent kind of events you've done around climate change and the building scale is really trying to focus these questions at an architectural scale. So I wanted you to speak about that and speak about the intensification of this intersection between climate and architecture as you see it through teaching, through the studios, through the conversations and then expand from there. Well, I think it's an exciting time to be both practicing and teaching architecture and thinking about the future of the built environment. For the advanced studios, I think there's an interesting opportunity as you're suggesting to focus on climate change at the building scale. And so the advanced studios, of course, build on some of the ideas and skills developed in the core studios at GSAP and the advanced studios bring together the MRC students and the AAD students. They, of course, involve a really rich diversity of different professors and approaches with almost 20 different options to choose from. But at the same time, they have increasingly involved a shared discussion about architecture and environment and more specifically about the current context of climate change. They really, I think I'm all build on what you outlined as a vision for the school at one point that climate change is ground zero for a shared discussion about architecture's engagement with the world. And I think we've been seeing that play out in a number of different ways in different advanced studios. So each professor has their own take on those issues. They have their own way of teaching. But we bring together the different studios in a number of different ways for a kind of shared discussion and even sometimes debate about how to address these issues at different scales through different approaches, which involve the technical, including embodied energy and carbon footprint, but also the social and political addressing things like inequality and public policy and kind of bringing all of those together and thinking about how they intersect with architecture and what role architecture and the built environment can play and design what role we can play as designers in addition to incorporating the numbers and the metrics and the engineering. I think that's really interesting because one of the fascinating you know, when I think about your own work and what you've been stressing across advanced studios in terms of this diversity approaches, but at the same time this kind of shared discussion is that it's not so much about the quantitative and the performative, even though those are very interesting. It's also about qualitative. It's about the architectural imagination in terms of telling stories or bringing things together as designers. How do we make informed decisions that we believe in? And I know you do that in your work and that's what I've been very excited to see in the work of students is, you know, this is not just modeling and cranking out numbers and making sure, you know, the buildings perform. This is a larger conversation about our position vis-à-vis the environment to architecture. Yeah, yeah. And actually that reminds me of some discoveries we made when addressing embodied energy with students a couple of years ago when we were looking at this issue, this really critical issue that, you know, buildings, you know, make up a huge percentage of global energy consumption, carbon emissions and waste. How can we address that? Well, for energy, which can be divided into operational energy for things like heating, lighting and cooling and embodied energy, which is all the energy that goes into extracting raw materials, transporting them, factory production and then construction in the building. So embodied energy has actually been increasing and we were doing some research on that and starting to think about how can we draw this invisible but very important aspect of architecture? How can we bring that into the realm of design, not just tallying all the numbers? And we started by making some data visualizations. So that was a kind of slight design feature added on top of the numbers, but we increasingly saw that that alone wasn't enough, just being able to see the numbers important, but not sufficient. And so we started inventing new forms of drawing these invisible effects of architecture and, you know, the invisible layer of embodied energy. And we created a type of drawing that we called material stories. So drawing the entire story of a material like concrete or wood or steel from extraction of raw materials, you know, digging into the earth often to transporting those materials to a factory, sometimes involving shipping or other kinds of transportation, then factory production, which could involve either cutting up, you know, big logs into smaller pieces and gluing them, but it could also involve melting, you know, iron ore to make steel, a huge amount of energy required for that. So, and then all the way to construction of a building, could we draw that in a single frame, maybe even using kind of immersive technologies like 360 degree renderings or a kind of virtual reality or augmented reality. And I think it was, it was that combination that led us to really think that exploring these kind of issues involve both the metrics and the narratives, they involve like the numbers, understanding the, the impact, you know, which types of materials or building choices have, have which impact and really knowing the details of those numbers, but also being able to draw that whole story and tell that whole story, and therefore potentially redesign that story. So as soon as you can put the site of extraction in a drawing, then you can start to workshop that drawing, you can redesign the way extraction takes place, you can redesign transportation. And I think increasingly I've been excited to see students really think about architecture more as a, as an open ended system, not just as an object. And that's something that also I've been exploring in some of my own work and practice. I think that's a really interesting and important transformation. How do we address this massive issue of climate, you know, with the numbers that are just beyond any single person or project or firm, and, and, and bring them, you know, down to earth? Well, I think it could be through thinking of all of the choices and architecture itself as a system. Two things that, you know, what you just said triggers for me. The first is, I mean, we're here speaking through screens and with static, you know, a plant and a, and a painting. And, you know, I tried to make it architectural. This is very early kind of digital representations. But, you know, as architects, we can design these spaces that we're, we're talking through and this notion of the six feet of separation that is advocated now given the crisis. It's really a spatial and architectural, you know, problem one to tell stories and to bring stories to people in this moment of kind of spatial separation. So, you know, what we're exploring in terms of representing and telling stories about energy in relation to architecture and climate and materials, we can carry that to the current health crisis. And there's a kind of overlap in terms of our, you know, our skills, our imagination, our capacity to bring people together spatially and through narratives and visually. And then I want to, I wanted to go from there to your own work. I'm thinking about the video you made for MoMA. This opening on embodied energy and how you're exploring new forms of representation to kind of bring these things together. Yeah, I mean, I think in a way that it's never been a better time for architects to embrace their role as kind of storytellers. And, and, you know, their role as communicators, like clearly taking in a lot of complex information and making sense of it and communicating it back, you know, while also kind of taking that position. And, and I think so, you know, as part of a kind of collaboration between the Museum of Modern Art and G-SAP we made and a kind of video and in a way, a kind of commissioned piece of work for MoMA where we were exploring the embodied energy of the new renovation of the Museum of Modern Art. So kind of taking into account some of these explorations from the school and applying them to, you know, current events to current built form in the city to the kind of cultural life of the city. And that involved a kind of a way of thinking of video as a tool of communication, as an output of an architectural project or a studio and a lot of iteration and thinking about all of the different factors that go into, you know, something like a big complex renovation in the city. But I think another thing you're touching on is really interesting that in a way, this, the situation, you know, that we're currently in now with COVID-19 is in a way a spatial problem and it involves aspects of design and architecture and the built environment. I've been thinking a lot in the past, you know, a couple of weeks about how there's some, you know, really direct kind of parallels between the situation of climate change and the situation of, you know, COVID-19. I think as you were describing, both of them might involve thinking of designing new ways of living, in addition to just architectural form or what we typically think of as like fixed static architecture. But in addition to that, I think there's some really interesting parallels about the need in this kind of state of emergency, which we're clearly globally acknowledging, you know, with COVID-19, but is also true of climate change. It's a state of emergency. And in both cases, there's a case to be made for taking drastic and immediate action now for the benefit of the long term. And the sooner the better and the more drastic the better, because every day we wait, you know, would require that much more drastic action later. And I think it's been, you know, amazing to me to think like how true that is for climate change as well as what we've already been kind of mobilizing to do for this pandemic. And I think architecture has a role in that space has a role in that. And I think it's an exciting time to be reinventing, you know, we're at a point where we might be reinventing economies. Societies, we're rethinking about values and also rethinking about resources and the built environment. And so I think as a student coming into thinking about these new times of reinvention, it could be very exciting. Thank you, David. I agree. In a way, we always have to be optimistic and look at the, you know, the silver lining of what we're experiencing now and the sense that if we were able to mobilize so fast with this crisis and obviously very imperfectly, we can mobilize and for students coming in knowing that, you know, whatever they design is not going to be as crazy as what we're going through right now and that they can, you know, really the space between what we project and what is what can happen. It has somehow collapsed in this last couple of weeks. And I think that you and the faculty, I know, are so kind of open to, you know, incredible imaginations that the students will bring. Yeah, that's it. That's a great way to put it. Thank you so much, David. And I look forward to seeing you in person very soon. Yes, likewise. Thanks, Amal. Bye.