 Thanks, and thanks to everyone for having me here as part of the panel. So I have been working on the project for 12 years, which means I have a very long history of it. It was actually my thesis even as a student. So I've been thinking about the High Line for a very long time. I wanted to show a few things more about our practice. I'm a senior principal at James Corner Field Operations, and we're a landscape architecture, urban design, and public space design practice in New York City. And I thought it would be interesting in the context of this symposium to just show some of our kind of more successful projects that actually are public-private partnerships. Because I'll say a little bit about the High Line, but Adam gave you such a great sort of highlights of the history and what it is. I wanted to put it into the context of this is actually a trend that's something we're seeing everywhere, and our most successful ones are ones that actually do have this public-private partnership. And these are working with nonprofits, working with institutions, foundations, community groups, stakeholders, and really the goal is not only to sort of build the projects and help build the projects, but also to care for them long term. And the caring is not only the cleaning them, keeping them safe, but also keeping them relevant. So I think a lot of the programs, the arts, all of these things that sort of keep them relevant and allow them to kind of be places that are loved in their cities. So there's a couple things, I think, in terms of our firm that are really important to us. I mean, this idea of nature in the city, we're a different type of landscape architecture firm in the way that we don't really see this as an escape from cities. We don't necessarily see parks as an escape from cities, but actually a dialogue with the city. But at the same time, the idea to connect with nature in the city is incredibly important and becoming even more important as cities become more dense and urban and grow. The idea of transforming liabilities into assets as a landscape architect, actually almost all of our projects are now sites that have been overlooked, underutilized, underperformed, relooking at waterfronts, relooking at used infrastructure, relooking at landfills. And so by nature, we have to be optimistic. We have to sort of be able to imagine and see them as something that is converting into an asset from a liability. Our primary focus is transformative public space. And with those public spaces, these are just a sample of some of our projects thinking about how to engage the larger community, very local in addition to tourists, in addition to thinking about spaces that really are part of that idea of value creation. So the High Line itself is one of our most well-known projects in New York City. And I think it's the transformation of a former rail line into an elevated park. So it's ultimately a retrofit and reuse project. And as I mentioned, it's this idea of creating a kind of new dialogue with the city as it evolves, it has a careful sort of calibrated balance between old and new, between hard and soft, thinking about how it relates to the city. This image, I think, is a sort of quintessential highlight in the fact that you see the kind of old buildings with their backsides, the kind of old, illicit behavior of the High Line that we wanted to retain and keep in addition to the new buildings, which are starting to face the High Line and have a different relationship. And that intermix of old and new is actually something, the High Line becomes somewhat of an absorber of what is the evolving city around it. A place for people to sort of come together and gather an informal and unscripted ways. I think part of the thing about the High Line was this idea of an intimate space, even though it functions at a sort of city scale, it really is only 30 feet wide and it's kind of typical scenario. And the idea that people use it almost like they do their backyard. It's not like a kind of formalized space, but they're able to hang out and be together and do this in a way that is somewhat unscripted. Also the sort of the power of landscape, especially on a structure that's elevated that has a soil depth that's on average of 24 inches, not a lot, but working with engineers soiled, working with the right types of species and selections to really create an immersive experience and journey in the city, really defined by the landscape. This is a project that was completed a few years ago, Tongva Park in Los Angeles. And this was a conversion of a former parking lot right in sort of the most prime location in Santa Monica between Ocean Avenue and City Hall. And the idea with this project was actually thought of well in advance by the city of Santa Monica to be a connector of both the civic kind of community, the residential, new residential community that they were looking at, the commerce community. So this park actually connects the beach, the pier, the Palisades Park to new residential, to commerce and to City Hall. And it's really a place where now the community comes together and it's really kind of stitched that whole place together. We also wanted it to sort of be iconic. You know, it couldn't really compete with the ocean and Palisades Park. So it had to have its own kind of identity. And the idea of inviting people in, it's a car culture. So what could we do that would actually, you know, peak curiosity of people driving along Ocean Avenue, as well as the kind of way that this insulates the park from Ocean Avenue, which is a very heavy trafficked street and allows reviews when you get up top directly to the ocean, connecting you back to one of Santa Monica's kind of key features. This is the Ray Street Pier in Philadelphia. It was a small, modest project, including the destruction of the actual pier itself. It was five million dollars. And it was the first public pier on the Delaware River. And it was really a catalytic project that started a movement to reinstate Philadelphia as a river city. So Philadelphia is between two rivers. And for a long time, those rivers weren't even part of its kind of identity. And so the idea was to start to capitalize on the waterfront. Many cities are doing this, even though there is an elevated expressway that kind of disconnects the city from the waterfront. And this project since now there's sort of the Fringe Arts Festival and that water building that's at the base of the pier. There's new trails along the waterfront. There's new kind of uses. And this was really a way to take what was, I think, 97% of the Delaware River was privatized to begin to allow for an easement and access to the river for the public. This is our project in London, South Park Plaza at Queen Elizabeth Olympic Park. And this was the conversion of the London Olympic Park into a legacy park. So what that meant was that post games, all of the tarmac and all of the hardscape that was really necessary for the crowds of the Olympics were converted into a park that was really for the public and the community. And London particularly took this quite seriously. The idea of legacy to them was very important in terms of the funding and how to think about this. So it wouldn't just sort of be forgotten after the games left. And they invested a lot in this area. It was chosen because it was a place that they wanted to extend transit to. It was also a place that was highly contaminated. And they sort of rebuilt the river, the soils, etc. So there was a lot of investment to make this part of the city with the with the funding that came with the Olympic Games. Central Waterfront in Seattle, where we've been working on this project since 2007, and the idea with this is really the viaduct that disconnected downtown Seattle from Elliott Bay was being torn down because it was hit in a number of earthquakes and it was no longer structurally sound and that opened up the idea for a kind of new waterfront reactivation of the public peers as well as the rebuild of a new seawall. And because this was such a large infrastructure project, they actually wanted to look at design and see how that could elevate what they were doing there. These are seawall panels being installed that we designed. And the idea with the seawall panels is that they not only showcase the history and the tide lines, but they actually are something that has an art to it and they really enhance ecology. So this is actually a series of those little markings are not just sort of pattern. They're little shelves and habitat that when they go in the water, different things can sort of grow on them and they afford that to happen. At the same time, we've designed a light penetrating surface at the top, which allows for a salmon migration corridor along the seawall, which currently they're not. They actually can't do their run. And for any of you have been in Seattle, the salmon are like sacred creatures. So the fact that they can sort of do their run is really important. We just completed South Dock at Navy Pier in Chicago. And, you know, this was an interesting project because Navy Pier is a project that I think it's really seen as just a tourist destination. There's a nonprofit there that really wanted to change the kind of identity of the place and have it feel more authentic in a place that locals would be proud to say they go to, because in actuality, they do go there. They just don't say that they go there. And the idea was that to sort of return it to a people's pier. And in order to get that level of authenticity, they decided to improve the public space. And so, you know, we really cleaned it up. It was really a mess of commerce and thinking about ways that we could sort of reconnect Navy Pier to its greatest asset, Lake Michigan, as well as kind of create grand gestures, civic gestures that reconnected its different sort of levels on it instead of just having small egress stairs that go from the top to the bottom. This is a project that was completed last year, the Navy Yard Central Green in Philadelphia, another kind of public private partnership. This one, it's a new central green and it really was informed by the surrounding sort of green tech and innovation tech companies that were sort of beginning to be headquartered in this area. So you can see it's actually a running track around the edge. There's bachi courts and amphitheaters and CrossFit is there. So there's a place for them to sort of go and work out. I guess this is the new millennial thing. You can actually work out while you work. So that's exciting for them. This is our six acre quarter of mile park project in front of the old Domino Sugar site, working with two trees development. And here again, one of the ideas is really informed by history of the site, a working waterfront, how we could sort of integrate the cranes and the different features that are there, especially given that outside of the refinery, which is a landmark building. The rest of the buildings are going to be sort of new to think about how to really ground that in place. And I think that site specific in place is really important in all of our work. None of our designs are sort of stylistic or generic. They really have to be embedded in the place. And the last two projects I wanted to show you have recently opened. This is Public Square. It had it's probably the largest debut of any public space in the country in the last couple of years, because the RNC was there. And this was right before it opened. They said this was going to be the place for public protest. And we all thought, OK, that's what it was meant for. This is great. It really was meant to be a square that was for public discourse and democracy. But we all thought it was going to get trashed as well. But it didn't. And this was a it was a transit hub in Cleveland. There were four quadrants with roads running through it. We actually were able to close down one of the roads and really refocus and make it a central public square. And it's performed more than we could have imagined in the short sort of lifespan that it's had. And finally, just because it's fun and it's a little different, we just finished installing what we call icebergs at the National Building Museum in DC. And, you know, this project was really about construction and making because that's the mission of the National Building Museum. But at the same time, we wanted to make a statement about climate change and sea level rise. And we also wanted to sort of talk about, you know, what a landscape is. And in some ways, the glaciers are kind of what has formed all of the landscapes that we see today around us. And there's this kind of condition about above and below surface, subsurface. Actually, most of what is landscape is below. It's not above. So these are just some of the images from that exhibit, which is on display until Labor Day. So thank you.