 So, thank you all for being here. My name is Yad Jomani, and I'll be moderating the event this afternoon. These are the Venice Biennale, the series of short presentations by Yad Jomani, who have participated either as creators or exhibitors of the 2018 Architecture Biennale in Venice, which, as you might remember, was titled Free State, and was created by the most architects. Before the exhibition, we will see and discuss this afternoon, namely the Rahel Pavilion, the Historical Pavilion, and the two of the exhibits of the Estonian Pavilion. All of that grow and bring to the fore critical cultural, architectural, and domestic issues that are committed on the good and natural environment of our cities today. From the question of religious rituals as a political practice, republic space, to the threat and potentials of living with water, to global energy production and consumption, and its unequal distributions, all the way to the environmental degradation of the cost of our cities. But before the exhibitions also successfully problematized in my opinion, and in different ways, the larger challenges that the Yad Jomani events pose it today. For one, they all push back against the question of representation of the side of to the other, or why the other, especially in the National Pavilion venue, which one can argue is really the center of the 19th century international fair traditions. And it's to this challenge that they open space for further and more substantive explorations outside the geographical bound of the nation they represent. Consequently, they all perhaps had either successfully negotiated with or were able to circumvent the authority of the body that is sponsoring the work, and which the National Pavilion was originally perhaps meant to represent. Which really brings up the largest institution of challenge, and perhaps we can discuss it later this afternoon, which is how can we constructively contest the larger project of cultural analysis that cities often see today, so we see explosion in binarist analysis design weeks and expos. One can claim that the architecture of the United is in effect an urban phenomenon in itself, a large but honest institution that lands on a city every two years or so to become itself a consumptive entity that is slowly at gravity transforming the cities in its wake. So I'll stop here and with that I'll introduce the speakers in the order of appearance. First we have Moa Karwi, who's an architect, creator and researcher working in New York and Amman, and was the creator of the Bahrain Pavilion in collaboration with Amman Sight. She graduated from GSAP CCCP program in 2011 and became the director of CEDEX online since 2012. She currently teaches a cluster architecture and early design program, she has a school and is a member of the Center for Palestinian Studies at Columbia University and also serves on the Stealing Committee of the CEDZAL Institute for Arabic Language and Culture. Next we have Rika Radek, who is the principal of some place, designed to be located in New York City and Vienna, focusing on architecture and exhibition project. She co-authored and designed this Slovenian Abelian type of building with water. Rika graduated from GSAP CCCP program in 2015 and comes in teachers visual studies in the MR program. She's the ninth foundation fellow at New Inc. where she's developing a collaborative digital platform for exhibition design called Clues for Show. Then we have there Raleigh, who is an assistant director of the Center for Palestinian Research and the exhibition collaborator of the Espavillian Titan and Plain Sight. She's going to be a student in the urban planning program. There we'll be speaking with Rika Vashic, who's an architect. He was an associate research scholar at the Center for Palestinian Research and is now at the Center for Brazilian Cities and Landscapes. He was also an exhibition collaborator of the Espavillian and Plain Sight. Rika joining GSAP, you go as a researcher at Harvard Urban Theory Lab. You see the master in design studies from Harvard GSP. Next we have K. Koff, who is an associate professor here at the school director of the urban design program and the director of the new Center for Brazilian Cities and Landscapes. He's also the founder of the Nascar Architecture and Design Practice SCAPE and an exhibitor of the Espavillian titled Ecological Citizens. K. Koff will be presenting with Alberto Barraus, who traveled from Venezuela to Amsterdam. Alberto is a professor at the University of Adovar, where he meets the environmental assistance analysis, large research group. He has collaborated with K. on the exhibition for the Espavillian. With background in ecological modeling and engineering his research over the last five years has focused on sustainable solutions to manage human activities and their environmental impacts, especially in post-example. Finally, I just want to like to mention that unfortunately we missed the presentation by Jaleh Soudali, who is also a GSAP graduate from the urban design program, who was the first curator of this Saudi Arabian pavilion in Venice the past year. Jaleh, unfortunately, not naked due to the delay in the category of senior. So please welcome Jaleh Soudali. Hi, thanks Jaleh, and then when we put this together it's a great to be able to have this conversation here at the school. So I'm going to try and be as fast as possible, and we really hope you know if it's too fast, please tell me to slow down. OK, so the Bahrain Pavilion in Venice this year took on as a topic the Friday sermon. I co-curated the pavilion with Jaleh Soudali, and we worked with Bartoul al-Sheikh, Mariam al-Jumayn, and Yizem Sivli, who's also a graduate of the GSAP program here at GSAP, on the research of the project. And of course everything that I'll present is the product of this collaboration and also our work with the designers, some of the visual artists, translators, engineers, and builders that contributed to the exhibition of the book. A religious ritual organized by oratory practice, as the Friday sermon, or footla, has historically played an important role in the shaping of collective life, public opinion, and common space for Muslim communities. Every Friday, and in every Jannah Masjid, or Mosque of Assembly in the world, the Imam delivers a speech before the Friday noon prayer in Salat al-Jumayn. The weekly gathering of publics on Fridays for prayer and the associated sermon is what gives the day its name, Jumayn, or Assembly in Arabic. The believers of the Friday footla is the regular publics of collective listening on the social and political conditions of the time. Footla takes root in a pre-Islamic Arab tradition of epic poem and speech recitation. It's considered to be the source of the progeny of Arabic literature. In Mecca, it's the poems known as the Maud al-Qaab, suspended oats, or hanging poems, were recognized by being hung on the walls of the temple of the crowd. The ritual continued during the early days of Islam, gathering people around the mosque for the Friday sermon and eventually giving shape to planned congregational spaces in Islamic cities that would accommodate the gathering. The Friday mosque, or Mosque of Assembly, has been a center of city planning as one of the most important public spaces, closely congregations beyond the religious. Political, economic, and social issues would be expressed there. The link between the central courtyard, the zahm, and other public functions, including the house of power and an integrated network of public spaces, enhances the importance of the mosque within the urban, social, and political structure of the city. And these networks of spaces for congregational assembly are exercised, but also contested through speech. The content of the sermon can range from hygiene recommendations to calls for non-aligned Western powers, from patriarchal preaching to strategies for facing the Muslim ban. In times of intensified struggles for freedom, speech, and the repression, it's not only productive but necessary to consider both the violence and possibilities that are embedded in the architecture and the media for the photo. While the prayer is a repetitive and constant marker gathering crowds for collective worship, the sermon itself transforms every week. The site of the Friday sermon creates a network of spaces temporarily activated through mass assembly. When it's considered as a network from Bahrain to Venice and New York to Jerusalem, the spaces of the Khutbah, both where it's uttered and where it is heard are the Muslim cities' spaces and spheres of appearance. The stages where the struggle and negotiation for representation is practiced. As such, the spaces of the Khutbah, whether in the boundaries of the mosque or in public spaces, become the sites of possibility for what Jaila bin Habib refers to as the practice of demographic iterations, where the limits of political membership and visibility are constantly and repeatedly challenged and reconsidered. This ritual of mass gathering provides the infrastructure for a public collective expression of dissent and protests from Jerusalem to Cairo and from Istanbul to Gaza are organized to follow the Khutbah. They are often pronounced not only in the gathering of bodies in space but also in the content of the speech itself. In some cases, the Khutbah as a religious, social, and political right and as an apparatus of speech and of listening has the potential for dissent embedded within it. Where Muslim groups are targeted, it is itself a targeted gathering and its very occurrence becomes the form of stability stand. In the next three sections, I will be reading from the research developed by His Excellency, the collaborator from here from Giza. In Egypt, too, the politics of the Friday sermon are intertwined with state politics. The most consequential sermon instances were the ones delivered by Gamal Abdel Nasser in Cairo on November, 1956, announcing the nationalization for Sweden and Ireland. While delivered by the representative of another party government, the sermon was a facilitator of anti-colonial mobilization. It was delivered from the vacuuming output and amplified through loud speakers throughout audiences and resulted in a nationwide protest. A bit like in Cairo, which had previously retreated from open space and a crowded sphere after the coup in 1952 was reactivated through the sermon as a theater for nationalist mobilization. Founded in the 1930s and risen to become the most prominent black nationalist organization in the late 50s, the nation of Islam's sermon reflected the oppressive US policies on African Americans and the resulting resistance. The surveillance of Muslims in the United States is not a recent practice. In the decades preceding 9-11, the State Apparatus of Surveillance heavily targeted black Muslims. The letters exchanged between the organization and the ministers on what ought to be preached at the sermons show that the organization was aware of the state surveillance and urged its members to keep the peace while continuing to struggle for freedom. The emergence of Malcolm X as a prominent figure in the nation of Islam marked an important moment for the call for self-determination and equality for all. His sermons, especially in 1963 and 1964, as he was leading the organization, addressed not only the struggles for the liberation of black Muslims but of all black Americans. During the Gezi protest in Istanbul in 2012, the empire was transformed into a communicative platform. The addition of various temporary functions such as an infirmary input store further activated the power to establish a solidarity front against government intervention. Alongside resistance on the streets and in the square, another kind of protest was the Friday sermon delivered in the park. This footblock counteracted the state-sponsored official sermon and produced a new religious narrative. A metaphor compensated the actions of a pulpit that slightly buzzing soundscape contributed to the emanation of a political message. In all of these instances, the sermon takes the ritual to its limits. The physical boundaries of the ceremony expand beyond the confines of the mosque and the midbar takes on multiple forms. Transcending the space of religion, the power of the footblocks derived from the persuasion and the points of the haughty or preachers' oratory, together with the gathering of bodies around it, the sound technologies and reaching its transmission, even the extents of its distortion. When thinking about free space and by extension free speech for Arab Muslim communities, the Friday footblock becomes a key protagonist. So what is the architecture of the Friday sermon and how does it shape its influence and reach? From the tracer that they manned to the mechanisms that control the speech to the midbar, the preacher stands on, the loudspeakers that propagate their voice feel the confines of the mosque and into the streets and in the vehicles. Where the possibilities of the khutbah are considered as a sphere of appearance, a weekly ritual of democratic iterations through collective horizontal speech and hearing and comment. And what transformations can we imagine that would render the khutbah not only as an obstruction but more as a reinforcement to the possibilities for free spaces of assembly? The Friday sermon project is a compilation of installation of texts and sound compositions. And I will go through as quickly as possible the contributions to the exhibition and look. Part of the installation is a 12 minute film by Lawrence Abou Hamdan, the latest artist, the sound artist, titled The All Hearing. The issue of hearing, damage and noise pollution is so present in Cairo that it was immediately accepted as a topic for a Friday sermon when Lawrence proposed this idea to chefs in the city. There was a new law that militarized that the military instilled to control the delivery of sermons by enforcing weekly topics that are sanctioned by the government. Despite that, the two chefs he spoke of it were even more determined to have the issue of noise heard. And not only to the conjugation inside the mosque but also to all the pastors who were exposed to the mosque's loudspeakers broadcasting into the streets outside. The military grabbed down on the amplified voices of the city is done in the name of policing noise and the lawless terrain of the loudspeaker. Yet it is in fact, Cynthia means to stop people from uttering anything against the government or anything that they do not want heard. Matilde Cassani is an Italian architect and researcher that has been studying sacred spaces for so many years in the Middle East. Her installation of the rebellion is called Four Unknown Types of Minba and their historical significance. Since Islam is not officially recognized that literally sacred spaces have grown from within secular buildings, the interiors and so the minbar respond to this reality. Matilde's study that represented a book on the various minbar types of mosques in Italy and presented full-scale models of four that represent the three recurring elements, the chair, the steps on the gate. Similarly to the project by Lawrence of What I'm Done, this installation also engages with the sermon directly as a practice. It doesn't merely study the ritual from the outside but interferes in the way the sermon is delivered. Three scores and the People's Mic Football was commissioned with Sadie Shirazi of Spain based in New York and Lesna Tatul, Palestinian based in Moscow. The project works to slowly, carefully and actively change the way sermons are performed, having the included voices that are usually unheard. In the long run, this is a project that reflects the architecture of the sermon itself. They describe the project as a book of scores, a manual of the organization of bodies. It responds to social life under conditions of siege, imprisonment, disappearance, deportation, and surveillance. The book is a manual for Friday sermons that are inclusive, without hierarchies, and most importantly, feminist. In it, they imagine how we might gather and speak aloud together. The book is translated in Urdu, Arabic and English, and Italian. And it's the basis of a series of performances, some of their audiences, and some of which we will be conducting in Spanish for the Muslim communities. They're closing me with a piano. The largest and most immersive part of the exhibition is a sound installation, by two artists, the Italian composer and musician Giuseppe Galassi and Iraqi musicologist and composer Cheyame Lamy. The first is a 17 minute piece by Giuseppe that was composed between March and May 2018, and created from recordings collected every Friday during those months from Bahrain. The sounds were recorded from inside mosques and from their surroundings, incorporating all disturbances and distortions. The sounds were edited, electronically transformed, layered and multiplied, and combined to obtain an eight-channel soundscape. While artificial, it also reflects the polyphonic sound world of both experienced and imagined sermons on Fridays around noon. From as near as footsteps, exhales, and commentary. And while this piece is continuous for the duration of the Unaleh, Cheyame Lamy's piece interrupts it every Friday at 12. Working in the same field recordings, Cheyame's piece refers to the expensive reach that this ritual has as it travels with time and covers the entire globe on Friday anywhere the clock hits noon. Cheyame too focused on the possible between phrases, the noises and the breathing between them, as moments also explode with discernment of its expected and all-to-familiar male voice. The two pieces were installed in a structure designed by Aparanta, a London-based design firm and the space creates a host sound installations, but also makes room for experimentation and enactment and rehearsal alternative formats for the sermon itself, including the enactments of the work of my Sadi Shirazi as my partner. Cheyse Pancheyame also performed live in the same space. I'm really over time right now, how I do. So, this tension that there was a video by architectures of the Fuzo, the Braborega, which had combined my ritual work from the tutorial statement and installations in the book together and then as well a book with contributions from his emcee team at the Pina Sani, Mr. Faharouf, and many others. It's a nice to be here and to inspire a few friends and colleagues, especially Tim, who was a collaborator throughout the whole process of one year of working on the Latin Inala, so I'm happy to be here with all of you. So, living with a lot of it, that was the topic that was actually given to us by the commissioner and then curator of the Braborega and Latersh Cheyek. And we were keeping together a diverse team of landscape architects, architects, publishers. It was an open call, so we all applied and we came from different corners, living in London, New York, Indiana, all kind of had some connections with Pina. It was challenging to actually anticipate my topic to come up with a solution. And after a year of putting our heads together and really thinking hard about the topic that we came up with, a fountain. So, you know, how did we get there? I'll actually talk a little bit about about kind of the background of that fountain idea and kind of architectural inspiration behind that, which goes on to a little bit of a historical tour of Richard Peskin, which is, you know, a very known Slovenian or most famous Slovenian architect, very famous in Slovenia, not so famous anywhere else. But he designed this building in 1947, and that is, you know, it was meant to be a parliament for Slovenia and to be the first part of his life. And so that in itself, and its size and its sort of, you could say, weird proportion and, you know, monstrosity, monstrous expression, it didn't get built at the time for many reasons, but it is a project that has been actually copied and brought to life in so many different ways. And we, it caught our attention because of one little detail, which we found at the very basement of it. So you probably can't even see it in the sketch because it's too low-risk, but at the very bottom of the fountain, you can see a little, a little, the very basement you can still look at. And when we, in our many discussions in the base of how to represent that topic, started fountain, we're like, okay, we're going to just create a replica of that fountain. We're going to create a one-room version. And the idea that it was a parliament, it was a public, you know, it was a non-public space, it's something where we make decisions that affect the country and we just realize that the topic of poverty is trying to affect everything. It was something that really, it's something that one solution or one person can solve or even one country can solve. It goes across boards, it goes across so many different decision makers. And so it felt like, how can we bring this talk to the beyond side, okay, we want to make a public parliament. And this is going to serve as our, for our inspiration or form of inspiration that will create this public parliament in the next election. But I'm going to talk briefly about the history of how that icon has been used. Yeah, because we're not the first ones to actually take it for our purposes. And I just found that this is kind of fascinating of how a building that has never been built actually had so many different lives. And so this is a cover of infamous stand, Leibach, which is punk, fake Nazi bands. They're not real Nazis, but they're really hard to pretend in the Nazi vein, basically. There's the media band called Leibach, which is a German word for down. And this was their album, Sorenska, Topola, so they were using, they were, first ones who would use that section and they wanted to be, of course, kind of ironic about that. They were using this as a sort of symbol of power and in the classicism. And Gizek was actually the famous civilian philosopher. I mean, it's almost like Salami and Gizek are two famous civilians, but Gizek was reacting to that at the time. And he, in an interview, he said, well, Leibach, of course, they're ironic. It's a joke, but Keschnik was serious. He called him a life fascist and he called his architecture a point of reference against functionalism, modernism, against reinforced concrete, utilitarian, functionalist architecture and as a basis for some kind of national foundation. And there was an interesting interpretation later by Andrew Hersher, a researcher, who said, it was unique, right? Maybe Keschnik was actually not so serious after all. Maybe he was also kind of making a joke. Or maybe he was also being a life fascist architecture. Because if you look at the section, it's actually composed of all the different styles and it has sort of Germanic elements, it has Italian elements, and you could say it's actually built out of, it's sort of appropriated from central monuments for serious national enemies. So, he was actually drawing an interpretation that was kind of in parallel to Leibach's appropriation but actually was actually also appropriated and he was not necessarily that deadly serious or that fascist about it. This is the album itself, it's using the four pan as a base and then a column from the section as a detail. And what is crazy to me, so that was actually a respect to use that building but only, and this album came out in 87 and only two years later in 89 it was actually used in the very first currency that Stoenig kind of gained after his independence. It was very short lived, barely two or a few years as for the Leibach. Suddenly this unbuilt building became like the national symbol of a new country while distributed. And that continued so it was actually on the post-marchs and we see here it depended on the symbol all of a sudden in the year of 91 and it's evenly your point. So it's really widely spread and how strange for something that never existed. And artists have also taken to it, they decided that it's interesting that it should actually exist in Vienna, this is the night for the river that goes through the city. So this is actually actually an artist Eli Tinteros who came to Vienna and we got made a very physical replica of the parliament and filled it in our group. And then the CG people have decided that it should be rendered and for some reason they decided that it should be all white because it's changed with all the materials and all of the expression of cookies. If you know a lot of those architectures who has some of that, he uses a lot of marble and a lot of textures that aren't very strange, but that person thought that this is appropriate. And here you start to see that I'm asking how little detail there is in this building that's part of what I think it can allow for them any interpretation. Because you have various section with so little detail, I want to just take their own story about it. And I don't think that that's the correct story but that person, the moment you render it, the moment you show so much detail is like I'm revealing maybe too much. And then somebody made an animation out of it which also, yeah, so we're revealing too much. I would love to commission some of it to what we are at some point. I think it just needs to live on and people need to kind of find out all the interpretations of this literature. And there's still a community, there's still a kind of group that tries to get it built. That's a part of me, it's actually a lobby of architects and urban planners and just civic lobbyists who are actually envisioning and planning for how that will actually live in Uganda right now. And it will still be part of the cause of building actually in Uganda. It's a very small city and it's a giant thing there. So I talked to Billion, so he used it as well. And we used it in a sort of public space where instead of this chamber of congressmen and his men at the time being elevated in this sort of round space, our round space became flattened, we kind of condensed the section into one came where the founder kind of came up into the main chamber. And we really liked the idea of the founder as this meeting spot, as this idea of the founder wisdom or the spot where the people after they had it made or after they had made a decision to come to the founder and then they think about what has happened in that discussion. And how we understood that discussion was actually in the columns around it. We created six extreme or controversial positions towards water that are related to the rounds of economics and politics and the environment. So people were actually able to vote on these solutions. So they're good for a second, the environmentalists or whatever they would say. Everything should just be protected and we should respect everything we're doing and we need to change our system entirely. Or it could be climate change matters. So we really wanted to paint the full picture and it could say, no, climate change doesn't exist. They could be in favor of participatory practices where people are involved in student making, they could be in favor of technology, they'll solve everything. We can just, because there's a lot of people who think that, so we wanted to propose this as an extreme resolution as well. Where they could say, well, actually, the only person that can deal with it is the state because they can't, so they can, I don't know if that's a problem, or ultra libertarians or like their relations of the solution, which is that the free market ran and people solve everything. So we put these locations out there, put them on the commons, put those places in some texts. And people were able to vote on them and sort of decide to kind of activate those certain situations. We wanted the space to change when people voted on these positions. So the projections would, so there's the light being flooded into the space. It was actually, first they're actually at the water surface and then it kind of refracts onto the walls. That's what we're trying to show in the presentation, but basically the space was constantly changing and the acoustics were changing because the fountain would turn on and off and so the water would hear water and then it would stop again. This is just an illustration of sort of how we adopted this section and how sort of the fountain came from the, well it came up and became this big flat ground that everyone was able to access. And this is a more of how we put it on these columns and activate the environment around it. And yeah, just another shot of the actual screen to the image of how it looked and very stern and simple. And this was one of the visitors that really enjoyed the installation. And we, so you know, it's a very simple installation in a way. It's something that you're going to say has no content, but we thought of an analysis case and there's so many different parts to it, there's so much you can see, so we wanted to do something that she can get. It's something that any person of any level can just understand intuitively. So even if you don't know about technique, you should be able to enjoy a space. Or you don't care about life, so you can enjoy a space. But we have brought up a really hefty catalog, a lot of interesting people to write on the topic and actually it's still continuing as a research project, so there's going to be an exhibition in Udana on the 18th of October. I'm going to be doing some exhibitions after that. And we are there really dealing with the local province, Udana is built on a marsh, and it has very good problems with flooding. And so we're, you know, I'm having all these historic maps and it's actually really nice after it's very abstract kind of global project to be working on a very local scale and very good performance. And it's going to be a conference on the 19th of October, where, you know, we'll bring in experts and then people will talk about the topics and discuss them. So yeah, that's it. That's what I wanted to share today. Thank you. So for this year, US, Slovenian Center for Spatial Research, joined, we're invited to join the VSI team together with Bobby Kutushko from Harvard GSD. And so we formed a really interdisciplinary team that consisted of practicing architects, photographers, full-time researchers and data scientists. And so we brought a lot of different things to the table. So the overall team of the US Pavilion this year was the dimensions of citizenship. And so, which means, well, that the architects and designers that is urgent for us to start asking what it means to be a citizen today and how might we express and engage in this paradoxical condition of citizenship. And so we were tasked to look at the citizenship at the scale of the globe. So different dimensions were citizens, civilitas, region, nation, globe, network and cosmos. So our scale was the global scale. And to do so, we started interrogating two global data sets. Then the nighttime lights and the greener population of the world actually show to some extent where people are and what the human footprint of the planet is. So this is the image of the nighttime lights which actually claims to show us what human activity on the planet looks like and the different intensities of that action. And it shows the distribution of electrical power. It also shows where the major population centers are and whether they're not. But it also shows the world as this sort of smooth and interconnected tactic. And that becomes troubling because nighttime lights depiction of the world is essentially a binary one. It renders the world as it renders the ground as falling in one of the two classes lights or no lights. And then that is then later operationalized and used by policy makers for a whole host of other binary conditions such as city, non-city, people, no people, economic activity, no economic activity, developed, undeveloped. And then that seeks back in real life because of how this data set is regularly used to craft global policies. So our second data set is something called the Greater Population of the World. It's produced by a research center here at Columbia called the Center for International Earth Science Information Network, or CSIN. It's part of the Earth Institute. And what this image represents is aggregated by national censuses worldwide. So this is an image of counted populations which has been either distributed or moved together to be represented at a resolution of one square kilometer on the Earth's surface. So what that really means is that this is an image composed of pixels which represent a square kilometer on the Earth's surface as equator. And the value of that pixel here visualized in the grayscale values represents the number of people who say the maps are equator. So at first glance these two images and nitride mice, so literally mice, the lights on at night and the great population of the world sort of seem to represent the extent of human presence on the planet and in the ways that we imagine it. The bright spots on both of these maps seem to really align with the minds and centers of the population. But if you look more closely at the two images you can see that there are a number of discrepancies between the two images. So in order to look more closely we took these two images, these two big sets and we normalized them at first and then we subtracted two. So what that really means is, as I mentioned each image is really made up of pixels and each pixel has a value so we subtracted pixel by pixel those two values, light for people. And we're able to produce a new image of where these two images don't align. In other words, finding places where there's lots of light but no count of population on one hand and places that are dark but have large count of populations on another. Which we sort of created a shorthand for of places with lights that no people and places with people and no lights. So in other words the the absence of light does not mean the absence of people. And we found many examples of places that are dark but that have actually large populations and and we've created sort of this internal taxonomy of these types and those are the wealthy enclave refugee camp city denied like isolated village, section settlement informal settlement and indigenous territory. And each of these is just one of many such locations and so through this process we've actually found hundreds of such locations in the world and we've all we've all met them. So likewise the presence of light does not always equal the meaning of the presence of people and so the piece goes on to sample 80 instances of the presence of people along with military bases borders and surface lines and so in some of these places there really are no people at all of course the human presence or impact but in some places we refer to places where the amount of light is outsized for the population or for the count of the population there so for example Tukana tourist light here in the top right has people there of course but their transient population is tourists and so they don't show up in national censuses and yet this is an incredibly bright spot bright spot So from these eight places we look at even closer the scale of the globe to the individual specific stories to unpack really how these locations came to be and so both our research and the piece kind of we progress in a kind of choreography between the global scale and these specific stories navigating back and forth between those two. So the first story in the piece centered on a copper mine in the Democratic Republic of the Congo and we'll show you what's up with that. The first story that emerged from we were getting these two data sets and it really set the approach for all other case studies and stories in this piece in that we were really interested in this kind of relationship between dark and bright locations especially when the two are in close proximity to one another and especially when these conditions of likes no people and people know are implicated in one another so for example here the K-O-V mine shows this bright likes no people location but people who work in the mine leaving an extraction settlement nearby that shows up as a people no likes location and at the same time the power is drawn from bit farther away in the dam that bypasses large settlements that are also people no likes locations and so we wanted to look at these are not sort of unique standalone anomalies and we wanted to look at other examples of such dynamics and so for example in Peru the story that we will show next we found likes no people location which is a gas field that is encroaching in indigenous population territories which is people no likes location the story of natural gas extraction really presented this complicated case where building and remote locations largely enabled electrification of the rest of the nation of Peru and yet it also brought development and contamination through the gas built into lands that were populated by indigenous peoples and in these lands this particular settlement which is also highlighted in green were designated as territories after initial explorations by the Shell Corporation in the 1980s which had documented detrimental effects on the populations who had been living there before so by taking this approach and looking at conditions where places with likes in their people were far close or interact with places where people had no likes a number of others in these case studies and others that will be mentioned in the piece ranging from dependents, so tourist sites which dot coastlines and are bright spots on the map that in some cases rely on labor from nearby time when they show up as places with likes to marry forms of displacement to infrastructure development that privileges extraction of local wealth or local populations to disparities even in places with access to electricity between where structures were paired quickly versus where it's not at all this last one illustrated the comparison between Puerto Rico and Houston and aftermath of Hurricane Maria and Furby and just how stark that story is in terms of which location how electricity was stored very quickly versus not so I think we get over 2,000 times so let's get past that one but so really taking it all together these cases, stories and patterns really present a picture of unevenness very different from the smooth picture that was connected even in the planet that the two images purported to show when it started so we'll close out with the very end of this just with an anecdote this is the United States Mobillion and I think a lot of questions came up during this process that were the title of this exhibition is organized by Anthony Zeiger and Leigh and the curatorial group was about dimensions of citizenship and one of the early kind of lining anecdotes from our experience with this was that basically the Trump was elected during this time so after we submitted a kind of discussion about what it would mean to participate in this exhibition there was a huge cloud of unknowing around whether or not our pavilion could be moving forward and so we heard about Leigh in the game and so it was really kind of even just the active participating in this international exhibit called into question a lot of global citizenship acts I also, before I get started, wanted to say and another facet of that citizenship discussion was that members of our team who were included in the war on and Anthony, I was an opportunity to meet the main members of our team who we were set to deploy to fence to work on the project both were not able to leave the country because of visa reasons so the complexity of citizenship before we even began thinking about this project was very evident so I guess I wanted to just restate the thesis of the US pavilion curators with this notion of understanding exploring the notion of citizenship through the length of the scale and the scale was given or the scale of the region and I think another early starting point for thinking about this exhibition is that Scape has done a lot of works that are exhibitions and museums we have not done at Biennales and so when I heard that our group was selected so long we were going to Venice and the concept of Venice was much more foregrounded than the concept of Biennale and the concept of doing the project that engaged the Venetian was kind of most exciting to us but in general our exhibition is titled Dimensions is titled Ecological Citizenship and through just opposing these three scales or scales of engagement one which is the scale of the person or the animal in this biological setting the second scale which if you can see on this image to the top right this much larger regional scale of ecological loss and devastation and then third the scale of action or implementation we wanted to juxtapose this kind of multi-scalar scalar approach to the thinking of the region in our exhibit and so as these videos kind of cycle through you can see the top right is a map of literal weapon loss and one of the things that we've been working on in our work here in the New York region but also more around the United States the globe is really studying regions through this lens of loss and how to do a creative project and how to act as an architect relative to this new kind of context of loss and what it means to engage and creatively in reversing that force and so this became a subtext for all of your work but in general our hope was that the exhibition is really highlighting and giving agency to citizens, human and non-human and alike that make up the region and we sort of posited this region as an area that doesn't have fixed political boundaries but that it rather consists of these assemblages of systems, inter-species, entanglements infrastructural imperatives and climactic forces and with a couple of jumps we go to the next slide so as much as we were kind of focusing on these five bioregions we were really inspired by the lagoon and we met Alberto who's going to say some words about this working in my community and so the project become much richer and very grounded in looking at case studies but also trying to understand in a very deep way what's happening and who are the eco-citizens that are now currently working in the lagoon itself and transforming the lagoon and the exhibition as you can see here this image aimed to kind of rethink the classical architectural form of what is beautiful for example and really present this kind of notion of an ecosystem architecture that will ultimately combine together with a dedicated people and citizens to begin to help regenerate these biodiverse marshlands in a larger landscape and really actually serve to play a role outside of the buildings doors so the images themselves become kind of part of the display the elements especially the flashings are going to be redeployed after the close of the exhibit in November and basically it's this kind of juxtaposition of scales of action and impact which is what we were really trying to highlight and how the notion of region in the future will be made by people working together towards kind of reinventing the original ecosystems that once defined where we are some close-ups of the materiality of these eco restoration tools and I think we wanted to be very rounded and very focused on this mission not a representation of the reality of these these materials that are like just to highlight them and all their kind of strange and all their texture and also I guess the idea of focusing on Venice as a region or Venice as a place as I guess maybe landscape architects are wanting to do really sort of made us question the idea of an exhibition that had to take place within the sort of white walls or in this case gray walls of a pavilion so we began to work with the curators on an event that would then lead people or participants out into the lagoon itself and have the right statistics but I think we understand that in general about 75% of all of the marshmallows of the pavilion have disappeared even in the last 75 years so what does it mean to be a regional ecosystem today in this context of loss? Well part of it is we need to share information, we need to build alliances, we need to kind of create contexts, we need to work in partnership with others sort of a big part of what we aimed to sort of participate in in the P&I was this actual act of going out into the marsh and shining a spotlight on the ecosystem of citizens who were working there now and how they're working and so we brought a group by boat out to the Jericosa marsh and began to draw connections between what was happening inside the exhibition itself in this case to see these corollods and the fashions on the left and how these materials are deployed to fabricate marshes because the entire lagoon itself is highly constructed over centuries there was also this very compelling and touching moment where a group that composed a kind of an ode being a Venice and the marshlands itself and so this kind of place as an ecosystem became kind of foregrounded as you know one thinks about the Venetian architecture and culture as being kind of limited to this very small island and its signature architecture but I think in this one instance in particular in this case of this song that was composed extremely clear that actually that culture emerged from this much larger fisherman and marsh context and that the reciprocity between this larger regional ecosystem of the marsh and the culture of Venice itself came to the foreground and so key on that walk was Alberto who is here and the flesh and here in the image but I think how he learned through working with him and like Viminay about actually the ways that even working across all of these environments the ways that we're working here in Jamaica Bay or Bearton Bay in terms of integrating people with regenerative ecosystems is something that is a sort of shared methodology and a shared approach so I would like to thank all the escape staff involved in this project and on Skate and everybody else who does this project which was a great chance for us to learn about different ways to see better management and actually realize that they are not very different from what we do in Italy and so I'm going to talk about the redeployment of the proceeds that are shown at the Biennale we're going to exhibit it at the Biennale and this is an example of ecological citizenship which is the theme of this exhibition so the proceeds will be redeployed in the Venice Saboon and they will be redeployed following the project which is called Life in it which I coordinated over the past four years it is the most active project with the European budget which was aimed to protect people from the ocean if you ever happen to land in the Venice Saboon which is shown in the picture and you sit in the right right hand side of the airplane this is very important you look up the window and you see that landscape if you're not happy enough to make a trip to Venice soon you can open Google Earth and just zoom and you can see that landscape those are the substances that are like landscape continuously avoiding with this dynamic and so you have to find conservation techniques which are fit to protect a very dynamic environment without facilitating a static state and that's what I do in this project these are how sub-marches look if you go within them these are not as anti-sub-marches as Mediterranean ones these ecosystems exist in the tidal tidal ridge in particular in the upper part of the tidal range they exist in 20 centimetres not below, not above so they are very delicate they are very prone to erosion you have to find out proper conservation techniques to protect this ecosystem from erosion without basically destroying what you're trying to protect with legal means and ships and both and so on because the long-term human and natural relationship that is present in the Laguna Venice you know the Laguna Venice is a world that is a site and the site is called Venice and it's lagoon which is recognized as in itself by UNESCO the city of Venice exists in the lagoon because of the lagoon the lagoon provided connection with shelter, with food with salt and in turn there are the lagoons of the lagoon over the centuries they even deviate rivers out of the lagoon to prevent the lagoon from silting up okay but now still today the lagoon is providing the initial society will benefit for example fish and opportunities for recreation and however there is a huge amount of prizes going on in the Venice Lagoon and this year there is a large erosion basically over the past century 72% of the surface of this habit that's protected out of the site has appeared and the erosion is accelerating and this is not the only reason why this human and natural relationship is breaking down the social fabric is eroding because people are leaving the lagoon because it's complex to live there there are jobs, modern lifestyles are difficult to carry on in an isolated island such as the middle of the lagoon and this means not only a problem for the people but also cultural heritage because these people carry out fishing with traditional techniques that have been there for centuries for millennia and so this is a huge problem which we try to address in the project in particular by targeting innermost submersions as we call them that is the submersion where the water is so shallow and there are classical conservation techniques because otherwise they are going to start or to spend too much money protecting these ecosystems so we have to think about alternative ways of protecting these places from erosion and that's before talking about these ways I would like to make a statement which seems a bit erratic but in the end it will become clear and it is that erosion causes our socio-economic very root for example and this lagoon is caused by speeding motorboats that's the picture of how the way it's working after the match is caused by a speeding motorboat erosion is caused by this addition of big channels to allow cargo ships enter the van this lagoon and reach the port and so we may try to tackle erosion also on the socio-economic level because this was equally important to us the solutions were facins this is the trickster of facins that we placed in the northern van this lagoon it is a natural-based solution so we created facins made of branches we placed along the edges so the submersions to protect natural waves and to retain sediments and this is very important because wood is biodegradable so these facins are able to protect submersions but they don't last forever so they don't freeze the submersions they're not like rock protections which are commonly used in the lagoon and this is another picture we go tight and very important on the bottom you can see a net a fishing net and in a moment it will become clear why that net is important and this is the church of Buram in the northern van that's sort of been there for centuries and we also used mud so we carried out so-called sediment nourishment pumped mud very small scale works of course this is the biggest work that we have done which is 100 square meters and we pumped mud to restore submersion facins and to the proper very tiny height level allowing plants to grow because if you pump too much mud plants won't grow and if you pump too little you won't restore the submersion and this small scale is very important because it's related to low environmental impact in this very delicate context and we tried to create works only where they were strategic to stop erosion this picture is a very good example we constructed this barrier to protect this mud flat and all the submersion behind it from the borough in which are very strong north east wind which are coming from this direction so by protecting this very tiny stretch of salt marsh you are actually under actually protecting all of this habitat these are our workers that are working and the other point is that we tried to acting and prevention based approach so every time we saw a problem we tried to act as soon as possible to stop erosion before it became out of control and too expensive to control and this is basically from the technical point of view what we did and you may guess that acting in a prevention based approach and using biodegradable materials of course has a huge problem that is that your workers have to be there continuously to monitor the salt marshes to take care of the protections and maintain them and repair them and fix them and never leave it very expensive so how can this be sustainable and it's a very hard job by the way you see you work in the middle of the water and this is sustainable and we show that by involving other communities in the works and what we did in practice was to hire local fishermen from the islands of Burano to Cialo and Mazorbo to install, to monitor and to repair to maintain these protections these are two of our fishermen fishermen Burano and Stefano and why fishermen because this has so many advantages one is that they live near salt marshes so they can just carry out the continuous monitoring that's needed to implement a prevention based approach the second reason is that they know they are doing very well because it's not very easy to navigate in water like that I never tried to go there with the low tide so I would remain there until the high tide and so they are more efficient than us the third reason is that you create local jobs so you can trust the social erosion I was talking about and this cultural heritage loss because these are traditional fishermen and the fourth reason is that you by involving these people carry out indirect degradation and these people have proved to be very proactive in suggesting us some ways to improve these protections so this is basically a win-win solution and from this project which lasted for four years in the end we were able to conclude that protecting the salt marsh through this we call it integrated so technical but also social approach there are several advantages protecting the salt marsh with this approach means protecting not only by diversity not only the traditional landscape which is salt marshes not only the ecosystem services that the salt marsh provide men with such as carbon sequestration, nutrient weightment, fishery support and so on but also you protect the local businesses with the panel of salt marshes without salt marshes there would be not traditional fishing of course because the salt marsh would be a sea there would be no other tourist so you can calculate and it also means creating and protecting new local jobs in conservation so if you make the calculation very rough calculation and you calculate the value of the benefits and the value of the cost of this approach and you make the ratio we found out that it was at least 9.5 percent and it's a very conservative estimate I don't know about banks in the US but there is no bank in Europe where you invest 9.5 euro back in a short time so the conclusion of this project is that all the positive human natural alliance is possible in the very slagoon and I think this is a good example of ecological city such thank you very much we're very late so I'm just going to start to high degree all graduates have challenged this idea of one national identity we say in different ways so I think the Slovenian Italian kind of continues to kind of unpack or intensify that national narrative of that moment but also I guess taking water as a topic but it obviously challenges when you think about aquifer now the watershed already kind of challenges the idea of national or alienation state I think that even in the case of Nora's I mean you already demonstrated it's not geographic, it's a big it's kind of practice happens across the world but you also I guess in the case that it's not culture it's not necessarily bound to one religious practice and by doing that I think should allow for its potentials I think the inside is obviously a kind of global research project that is also very much based on the localized pixel I think I remember when I was there when you zoom in on when you see the darkness you already being in this global research making it like I said with the national scale if you might talk about it today and obviously I think the title of ecological citizenship of citizenship is already kind of calling for some kind of universal citizenship that is somehow ecologically conscious but also active right so it's not probably understanding in this very moment so I wonder if you can just very quickly go through the challenges perhaps when you defeat them if you have in negotiating with the authority at the end of the day to sponsor the project okay yes in the case of Bahrain our strategy was to make sure that we address a lot of the very problematic realities in relation to freedom of speech and also particular to the Friday sermon by addressing it on global scale that is specific to a particular kind of ritual that happens all over the world in Muslim communities the issue of freedom of speech specific to Bahrain is kind of an element in the room throughout so by not tackling it and being subjected to being stopped we actually ended up having that as the primary issue that was expected to be there and so was ultimately thought about and also in relation to all of the places that the team which is a team of people working in New York, in Oman in Lebanon, in Cairo speaking about it in their own local their own local home counter where they were living but also specific to Venice considering the fact that Islam is not recognized and the work that we did both with the score book but also with working with Italian architecture researchers studying that issue specifically in Italy so it was specific to Bahrain but making sure that we it's almost like I'm multiplying the nations around it and I think one of the main issues was having that element in the room is I think it was filmed with the yeah I think that for me it's on a personal level interesting because I haven't mentioned my name since I'm a small child and so I'm thinking I can actually have a few team members like that that lived abroad and so I think as a team they brought a different sensibility because because you don't see it so much and they're like oh right again you know I felt that it was actually appropriate for just global stage in a way and that people would from outside think they would learn about that or find out about that that they have an image of this section that made they would become interested and fascinated by that so I felt like in that context it was not something that I've seen a million times before but it was the way it was and there was also an expectation people were wanting to see more specific conflict projects because you know that was all invoked but that's why I have a lot of people who are like why is it not an exhibition so that's definitely a little bit of feedback I think I hope that the show now has been actually a piece of this and I agree or I can see why people think that but I still cast that firm on the middle of this presentation actually and you know there were two sides I was probably enjoying it but I have to say that Commissioner gave us all of the feedback I never felt any pressure or I had to navigate the idea around things and it was great because across the staff there were issues and I was worried about what doesn't really worry about the Slovenian audience but then when I was there because there's so much happening the ones that are coming all those people they're not specifically covering all the other things that are going on so actually it became weirdly local that I was there and I was trusting to their own people because there's just so much to take in so yeah it was a nice balance and I'm happy we're doing a second round to kind of back it up at the physical end of the local two more minutes on just the American context I think the I think the curator did an amazing job by expanding that agency of the architect and understanding how these multiple scales whether it's a globe or a region or to sort of kind of be good to interact I think the immediate I did a little bit of press around it and the immediate thing was like what about the wall, the wall and so that has been my lay person's immediate kind of understanding of what it means to be an architect in this era but I feel like the curators that are really an amazing job are making it really thick and it's a layered discussion and not having to be a one-liner all the things that I want to manage I'm concerned about that with the curators but I think going back to your point the way that they commissioned works that used many different types of media in order to enter into that which really contributed to that the team, the compromise of architects as well as data scientists to work that primarily happened in analysis in GIS and programming languages sort of contributed to that quality, multiple types of engagement but we had a lot of discussions at the beginning and what it means to represent United States in 2018 and how political and critical we should be and it was almost too easy to be overly critical and so that was one of the early sort of issues and then later on the challenge was very simple is how do you do this in such a short deadline because apart from the video itself there's actually a research project just like any other project we do at the center and with its own research methodologies and necessary rigor which sometimes we just have to juggle with and maybe compromise in order to get stories through it I think the answer to what speaks to the state of the doberding affairs in the other world and the rest, but maybe there's next time earlier that Arab scale has to be somewhat presented but I believe that nationalism is becoming more popular in the rest of the year I think you all have to deal with this question of representing the nation which is really the UBC of international fairness that delivered to us a national agreement I think it's more not so much the burden of having to represent but the responsibility to make sure that even though you're being sponsored by the state being able to somehow navigate through that and put forward the critique that you think is necessary to make I think there wasn't so much running away from representation actually pursuing a particular kind of representation that would compromise your position and that was I think the most difficult part I guess which is really because to decide in larger question the form of the exhibition and the possibility perhaps of questioning the physical relationship of the United cities of this context and I was also making that observation that those cultural events are increasingly massive that they perhaps become the burden of the city and I think for exhibitions somehow called for means of engagement towards the city whether it was the penance of the context or its own context in more general terms so the interactive water fountain allowed the visitor to build consensus I guess platform consensus making I guess urban policies that would affect the city I think in plain sight I was always wondering if you can turn that your lens of energy sensing lens on Venice itself I'm sure because it's still populated and at what time obviously Venice is becoming the most seasonal and interesting destination that is continuously maintained out of this and other things at the expense of the psychology and I think not as in your exhibition but also this review that was talked about kind of disseminated this kind of speech of perhaps encouraging participation in the public space and I was reminded that while the exhibition was happening right outside the doors of the there were all these local activists calling for a better life in the city almost taking the page of this textbook that you would also have to be answered with a sense of engagement and very clearly so with the pathological citizens it's not anymore about calling to action it's actually acting on the city at this very specific moment where the exhibit became not the exhibitions we made kind of a storage or staging area for people in those all material onsite that have started already this act of repairing the landscape so so I'd just like to hear from you as creators and exhibitors but if you think that maybe in the next in what you have planned already if this is important because it's starting about the exhibition not only in terms of having prefabricated but also perhaps asking the public institution which is now in this case to be perhaps even more responsible or more conscious but very impact okay okay yeah thanks for a question it was very much a debate you know people are saying why is this so many fountains why are you willing to move on and the visual or at some stage of the project really wanted to reach out to many some buildings in the canal that people couldn't vote it makes so much sense it's about water water city it was just one of these things where we had to cut down we had we talked about constraints we had an extremely low budget like we had the budget that other companies had for their party so both both yeah so it's also something that people don't know what to talk about but it's a huge issue for a small country that doesn't have to put in any schools and most of them aren't actually renting the space or but if I ever get out again I think that's a very large question I would love to engage the city and it is painful to see that as I went back in October or actually remember my grandmother and I'm curious if it's still as busy or if that's going to be a more calm time but I think setting up this is actually nice because then you met all the local contractors you met all the people who are actually employed who are maybe out of mission at their time or come down and build all the convenience and you know from Syria it just jumped over to our drive so we were able to actually locally build everything but some people really pre-built everything far away and it shifted over so I think that's an old institution all these narratives of how things are and how the quality of the decisions actually are and I think let's see what the next pusher I think that it is very important that institutions like Milan try to engage with citizens and I speak as a researcher so I'm not an architect but the project that we worked on now plans to redeploy these passings in the Northern Lagoon that's very important because most of the nations and in particular people from the island think that research and segmentation all the cultural life that's ongoing in the city is not really contributing to their welfare to the good of the lagoon and but actually most research, most conservation projects that have been funded by the EU over the past four years five years in the lagoon just like many others were written by research institutes because we have a huge problem of institutional fragmentation there are too many institutions in charge of managing the lagoon so you have to be able to tackle complexity, to deal with complexity and to act to address this fragmentation and do good things for the city I think it's a researcher cultural events that can this kind of change in the city that's very much needed I mean that was the original and I think you can make a city with a new kind of boost of energy but at this point it's almost like really that was my I've never been to I felt like with fresh eyes I felt like it was overwhelming the amount of architectural production that had gone and I think about people working late nights the sheer amount of models and text to the drawings what it takes to do all of that so that was overwhelming on the one hand just to kind of be in that space this global community but on the other hand I even though yes the flight there is probably not the most sustainable kind of thing but every time I walked by some of my attendee plastic champagne food and it would just be like piles of so it did there was this moment of actual revulsion frankly for me personally not like just this kind of incredible kind of consumptive nature of what it is so I certainly feel like there's there has to be a more creative way or a different way of kind of carrying on the passionate creativity that is the architectural instinct but not kind of having such a raw display of I don't know is that heating is that way or at the top but it sort of felt feels like your fifth plastic champagne food in a day it's just that stuff and it just feels strangely like our team is also with the Arabian means and it's like wow most of that is an Arabian being and it feels like a kind of a howling out of the city that has happened rather than this rejuvenation to your early point the other aspect was that the progress that you mentioned which would also be that it was organized by it was addressing the fact that this curatorial statement of free space was so contradictory or at least was not addressing the fact that two very important public spaces in the city are constantly closed off to pay yeah, you know I've six bananas throughout the two years and it's a closed space that has now been under checking for most of the time closed which is a public problem maybe I'll just add something positive it is draining the cities but I also want to say how important it is for us to have those kinds of venues to showcase our work and I know there's a proliferation of P&Is in the past decade all over the world just to practice as a researcher and in design disciplines where maybe a typical peer review paper is not maybe the best way you're going to be publishing your work but it becomes essential to have venues and venues like this where you can actually put your work out there I agree, but specifically because there's a proliferation that won't perhaps need to be explored and I agree that the autonomy that one gets in terms of personal research and the desire to explore further knowledge and use knowledge the question at the end is not at what expense that the city is suffering and also is that the only form what kind of reforms I think my last question before we open it would be perhaps to go back to the there's not many questions about the abundance of GSAP presentation I think giving this large presence of the school as educators, researchers thinkers if you can tell us about what do you think the school mandate perhaps from an academic point of view ought to be when it's offered on such platforms and also I think that was clear across all the presentations obviously each one of you is representing a network collaborative network of people outside the school or the scientist activist, historians etc. so what is the importance of perhaps also listening to this very impressive the school it seems that it's becoming kind of the best for it to happen and I mean that is it has to be from a departmental perspective or maybe from a general school philosophy I feel it's actually one of this second, for an audience we're going to debate for school, the first one is actually in Venice and it's the CCCT so in more particular it's like a tiny program where we have 10 grads per year and there are actually four people who are deeply involved in the in other parts of the data and I know we're also as well yeah, you know it's a hard question because it feels like it just has to be involved in everything in GSAP I'm not like it's a responsibility that's been handed to it's a responsibility that's been handed to the school so I think it's a good time perhaps to collect it and think about it I don't know if the project has all the stories but as we sit here as the GSAP faculty online I think it could be just perhaps a year or 12 years in the school the question is for you what did you observe in terms of similarities or do you think that the school has you know has created something I mean there are obviously general public and maybe you guys can expand on the questions the larger question of obviously of climate change but also of social equality especially I see a lot of problems in the studios of the school and taking on seriously the thought of in terms of special practices and how policies are you know I just can say that I also felt like there's that kind of infusion of GSAP that's kind of multiple incidents and I think it was the testament to just I feel a strength of GSAP is where we are now is that there is kind of diversity or biodiversity approaches it's not like there's a school a physical or formal way that the school is pushing that was that way in the 80's and now it's just more about the spirit of inquiry and questioning I think that becomes a more pervasive piece and also I could say that Columbia itself identifies as being but also a global institution in the fact that our students are from all over the world and we have a strong position to do global thought and global action and so I sort of feel like that was in particular this year and the analogy was was just as important as this cross cutting experience you can see from the diversity of the world it's not the same piece replicated but it's from data it's from self-martial and then architectural history and all these different facets are kind of coming together but it's still a spirit of questioning into that cut Gates mentioned but I want to add another small piece in addition to collaborations with you and the studio heads and so on there was for my process curating the pavilion was an immense support that was you know both existing but also from the past that I felt come very strongly from the CCCP program that very comparable in several practices program also collaboration, very close collaboration with the sensitivity was also a further of the program and I think one of the main things that you come out with is the the dedication to non-compromising non-compromising work I think I'm taking the position it's here I want to talk about that since CCCP program we're here we went to Venice four years ago spent a whole month there studying in Vienna and you know different projects we've made a publication and actually it was released this year and then there's a series of combinations that people couldn't know what they did in the online days so it's kind of an active dedication of the another format itself done by school in a sense um the question is is present too I think it also speaks to or doesn't speak to anyone that the Vienna place to showcase projects is really becoming acted as actual architectural pieces and the fact that this episode represented there so it speaks to that kind of diversity in practice that occupies that space in the school sort of fosters and produces and so it sort of reflects the relationship that's going on but on another note we involve some students in the actual work of our piece not very many pieces students in fact and I think it's really interesting in the model to promote this kind of active engagement with the online form and the question we have but I think that it's something in general that could happen more at the school and that part of it is a lot more than necessarily I think I'll look at the floor I mean if you have any questions if you're aware of this fantastic um what happened so ecosystem services can one of the things that would work through all the presentations is power imperative particularly when it's attached to the place and ecosystem services people can build back into their center like me and their theoretical place just so people can be really attached to weapons they don't want them to go away even though those landscapes are dynamic and say title flats or some other coastal habitat can be provided just as many ecosystem services so what I'm just looking for some of your perspective on how do you how do you not get sucked in one specific set of ecosystem services and allow that dynamic coastal landscape to do it all I think just a final question so what happens when people become too big too alive come to rely on weapons too much versus having to go over time versus another coastal habitat to be equally attached yeah it's a good question but first of all I don't think people realize ecosystem services they are benefitting from in the Spanish lagoon and that's also an important feature of involving local citizens in conservation because you can tell them about what really supports their life but I think if the lagoon would become a sea as it is actually becoming of course that ecosystem would provide a very different ecosystem services that would be possibly equally useful to the people if they are willing to adapt for example you could fish maries, fishes and that's of course it's a matter of value systems it's a matter of political choices in my opinion it depends on what you want the future of the society to look like because people will adapt people as always adapt to changing conditions it's just a matter of what they really want and I don't think they are in Venice they are really thinking about this for example in Venice nobody is really thinking about sea level rise which is a bit paradoxical they will construct these mosa dams and that construction has ended the debate on climate change in Venice while actually it's going to affect the lives of people in many different ways and there should be more talk about that because people are not aware of this any questions what would you say is a good time to visit in all the terms of the crowds probably not probably not probably November