 So thank you for having me today. I'm really excited to be talking to my old dear friends. So in the 15 years in a professional sense, it's kind of professional and personal intertwined a little bit. But after Columbia, I think I stayed in New York for a number of years. So I did keep up with you all. But just to recap quickly, I worked for Bernard Schumi for a little bit, then jumped across to Work AC and worked for Dan and Amal, which was just fantastic. Just such a pivotal and formative time for me as an architect. And then after that, worked at Snohetta. So moved on to bigger projects and a lot of performing arts and cultural centres. And it was wonderful to learn from that kind of, I guess it's more a Scandinavian ethos, more than an aesthetic, and learning about how Norwegians work together and how their collaborative approach and the way they even work with each other in the office. So that was really fantastic. And then as I think you probably all know, I moved to Norway and worked for a company called Helen and Hard, who was I think less well-known maybe, but so incredibly clever and focuses on the inherent properties of timber and the design possibilities within timber. So I think, if you don't know them, I really recommend having a look because their work is just extraordinary. And they push things hard. They push the ideas really hard and they don't give up. So if you want to see creative work, I really recommend having a look. But working and living in Norway was really wonderful, but I felt as a professional and as a person that it was probably I could do more and have a different, a life that was more I wanted back in Australia. So I moved to Melbourne and really felt that I could have a difference, make a difference as a designer and knew that there are a lot of problems in the design world in Melbourne or that you can make a difference to things like affordable housing and urban planning and design. So that's where I ended up in Melbourne back at home and I'm still here. It feels like just yesterday, but I think it's coming up to 10 years since I've been back and sought out a company called MGS Architects, which is not well-known in the world, I don't think, but it's formerly McGoranjin in Eastsoon. It's a 35-year-old practice and started by three people, Rob McGoran, Munsoon and LEGNNE and they're starting to exit the company now and it's becoming an intergenerational office. So it's an exciting time, but the reason I jumped to this office in particular was because of their incredible depth of knowledge and passion for social housing, for city planning, for social inclusion and really trying to make a difference through design. So I'll just quickly share with you, if I can share a screen. I've got to just, I'm not going through massive presentations, but I'll just see if I can show you. Please, I think that works. No, it's not coming up at all, is it? Yes, yeah. Oh, that's good. Which one are you seeing? It's not, hang on. The PDO, I think, yeah. No, it's not. Relevant projects. Relevant projects, oh good, because it's not, the red square isn't around it, sorry. I'll just quickly flick through this, but just to show you the breadth of the work. So it's a lot of social housing projects, which often have really complicated clients, but also small budgets and often dealing with... Elia, can you zoom in a little bit? Sure, I can. If I do full screen, I think it will probably get a bit weird, but can you see that? Yeah. So a lot of... I'm flicking through it quickly because this isn't what I really wanted to talk about, it was just to give you a sense of the projects that we do. So it's an office of about 40 people. A lot of... So this is affordable housing for older people, so it's independent villas, but it's low-cost housing. A lot of social housing. So for different kinds of complicated housing users, and a lot of big city-making moves, so about bringing together, say, universities, commercial and housing interests together. So MySpace recently has been more an urban design, and I think that's partly a personal thing because it's a bit easier to do it at strange times of the day and night than, say, if you're dealing with a contractor on site. So this is a project I worked on. This is the University of Canberra master plan, which was complicated and fun and dealing a lot with Australia's First Nations people and trying to make sure that reconciliation is core of the agenda, which is important in Australia, and we're quite slow with it, but I think it's gathering speed. University of New South Wales in Sydney, master plans in Melbourne, Monash University. Sorry, this is meant to be a two-screen presentation, but so just flicking through just to show you the huge breadth of work that we do, but what I wanted to show you today is a project I'm particularly proud of, which is a master plan for a school in Melbourne called Xavier College, which has become, it's just jumped screen, sorry. I feel like it looks like I've never done this before, but I do do online presentations all the time, so I'll just try, you can see Xavier College there. No. Let's try again. There we go. Beautiful. So this project I'm sharing with you because it's kind of a culmination of all the work I've been doing at MGS Architects over the past, I think it's eight years up in there now, and it's a school in Melbourne. It's a really interesting scale. It's probably, it's a couple of hectares maybe, but it's a lot of architectural thinking. So it's been fantastic to be able to tie together my master planning work and my architectural work. So, but what I wanted to do is more than show the project, just show the process. So this is the school, this is the city, the central city of Melbourne. It's quite close to the city, as you can see, with an enormous landholding, it's just kind of chopped off. But the key thing about this project was engaging with the school on their values and their identity. So getting to know that it's a Jesuit school, the Jesuit identity, but this permeates through a lot of their values. And so for me, the most important part of the project has been getting to know who they are and making sure the master plan really reflects their personality, their values, their identity in a meaningful way, much more than a tokenistic way or a branding way. And because of that, it's become the most fulfilling project of my whole career. I've just sort of embedded myself in this place and really just like yesterday, I presented at their assembly, which was just fantastic. You know, just a completely different audience. So I presented to 1,000 boys yesterday, which was my first time presenting to a group of just teenage boys. It was great. But the key thing was to, it's got steep topography, very complicated side with a very protected heritage core. So we started to develop along, this is the north of the site, which in Australia is the sunny side of the site. The city is this way, but starting to tie together the campus and what we're kind of called a kind of tweed, that it's a string of pearls of different functions and so tying together the existing part of the school and then a kind of distant sports center and then putting a new boarding house in there. But the key thing was really to start to reimagine this heritage core here and introduce new buildings for them in a way that was really meaningful to them. So for a master plan to become meaningful if you've done master plans, you know this, you have to make sure that you've got real buy-in. So everybody in the school needed to be on board. So it was stakeholder engagement for months, walking the site and really becoming part of the family. We put a new oval car park, which was a government requirement that we had to include more car parks, which proposed a new seven and eight building for their middle school here. This is the original core here, new sports center and then off the side of the page a new boarding house and then another view looking back up. And the interesting thing about this master plan, unlike many, is that they actually want to build. So this became a design competition for five architect teams. We submitted, showed what we knew, started to extract what we knew about the school into series of very clear design principles and then into a design scheme, showed how our new scheme fit into the existing core and this is a heritage chapel that has a lot of constraints around it. We tried to make it feel like it was part of the academic area of the school, talked about a new learning street through the middle of a building that connected with the chapel and used brick to create a very robust space for kids to come together, but also supporting spaces for kids to be alone in small groups and retreat. And this is an example of that learning street, showing how it connects to the chapel, different informal learning spaces. So it was fun to kind of tie together the big picture pedagogy with the small picture pedagogy of a design and then get into the tiny details. Just an elevation of the section, quite a complicated topography and then a simple render, but we won the competition. So we are now, which was really unexpected because this is not a space we've played in. Thank you. Thank you. I mean, it's one of the most exciting moments when my professional life was winning this competition because it was a really big job in Melbourne. And it came about from really investing in getting to know the client and being part of them. And so that's why it makes me feel incredibly proud because, yes, we love the design, but I think the process was so rewarding. And the fact that it was rewarded was what really, it really was satisfying for us as a design team. So I don't know if that's seven minutes, but there we go. That was my very quick summary of where I'm at. So thank you. Thank you. Thanks. Thanks, Elliot. Great work. Congratulations again. Thank you. I'm a beautiful work. I'm also studying RMIT now. So next time I go to Melbourne, I will go and check you out. Okay, so my name is Chani Chu. Sorry, I'm a little bit late this morning. It's in Taiwan, so a little bit early. But I'd like to welcome everyone. This is a really unique opportunity that we live in the COVID times and by using this opportunity that we virtually meet everybody. I'm the moderator for today. And we've gathered 22 professionals that through our three sessions that we're gonna show different expertise and session three, we're gonna head it off with Elliot from Australia, which is just seen. Carmen from California, Roberta from Mexico, Emilio from Mexico, Amy from California, Jada from Haiti, and Paul from New York. So I would introduce the next speaker, Carmen. So she's currently a associate professor at California Polytechnic University. She's currently pursuing a doctor of PhD and her most recently taught at New York City College of Technology. So we welcome her, thank you. Thank you, Jani. I'm just adjusting this so that I can see my notes at the same time in case that's helpful. Okay, well, I'm really happy to be here today with my classmates and old friends and to hear of each person's unique journey. And I have to say, following Elliot, who was talking about very big scale thinking, I work a lot on very small things. So this is kind of the other end of the spectrum. I'm currently an associate professor in the assistant department head at Cal Poly and the architecture department. And I'm the president of the Building Technology Educator Society. So a quick little summary of what I've been doing since Columbia, while at Columbia, a friend and classmate, Jenny Bruton and I designed kind of a silly little thing in one of our classes that we called the Door Dynamo. And it was basically a gadget that attached onto a swinging door and it produced light. And because of that project, Jenny and I continued to collaborate for many years after our time at Columbia. And we had this interest in interactive design that made visible, normally unseen things, such as the relationship between metabolic energy that was demonstrated through human beings moving a door and electrical energy. And we were able to leverage that into a residency, an artist residency at Ibeam Art and Technology Center. And of course I also had a day job working at Shop Architects. While at Ibeam Jenny and I had several more projects, we had the Revolution Door, which was kind of a more robust version of the previous Door Dynamo, the Personal Power Plant, which was a small handheld hand crank generator to produce electricity and charge batteries. And we actually worked on that project with Muna Andrews, whose name might sound familiar because that's Amal's little sister. And we led community workshops and helped people of all ages build personal power plants. And at the end of that residency, I felt a really strong desire to continue a career where I could do research, where I could make prototypes, I could do kind of hands-on work and do a lot of kind of dreaming. And for this reason, I transitioned into an academic career and I was really fortunate to be hired as a tenure track faculty member at New York City College of Technology in Brooklyn, where I worked for about four years. Jenny and I continued to collaborate during that time. She started teaching there too. We did some work and research in urban farming. We started getting small grants and working with student researchers. And after some years there, both Jenny and I felt like we wanted to go back to school. So Jenny went to the MIT Media Lab and I went to Renz-Walier Polytechnic Institute to their Center for Architecture Science and Ecology, which is a joint venture with SOM. And while there, working with a group of undergraduate students came up with a project called the Breathe Brick. And that's the project I'm going to talk about today. And so the Breathe Brick actually really helped me transition to my tenure track position at Cal Poly. It helped position me to do research, to get grant money, to work with undergraduate students, and ultimately to get a patent for this project and to help me get tenure. So it turned out to be a very fortunate track that all started with that kind of funny little gadget that attached to the door. So I need to go really fast. But just as I began my studies at Case at the Center for Architecture Science and Ecology, my little brother got really sick and it was because he had kidney failure. So while I was supposed to be working on my studies at school, I was really trying to learn as much as I could about what the kidneys do in the body. And what I learned was that the kidneys are this filter and that they help to remove toxins from the body, remove toxins from the blood, help to pass things through urine. And at the same time as a student, I was given a site in my design studio of Cairo in Egypt and basically asked to come up with a proposal for that site. And this was right after the protests that over through the government, kind of the Arab Spring and the country was full of hope. But through the protests, we really learned a lot about the quality of life or lack of quality of life. The city was just so polluted and had horrific outdoor air quality. And so this was the aspect of the city that I felt kind of interested in because of my interest also in toxins and how to remove toxins from the body. So I started wondering like how could architecture operate like a kidney in the context of Cairo? And with further research, I started to realize that of low and middle income countries, 98% of them do not meet the World Health Organization guidelines for healthy outdoor conditions. So the low and middle income countries tended to have the worst outdoor air quality. And these are the pollutants that the World Health Organization monitors and the two that I ended up paying a lot of attention to are the particulate matter, PM 2.5 and PM 10. So this is things like smoke, vehicle exhaust, dust, stuff like that that's in the air, not gases. So here you can see a chart where the World Health Organization limit for PM 10 is shown by this black horizontal line. So anything above that is considered unsafe. And so you can really see that across the globe, cities across the globe are operating in that unsafe range and it's really amplified for lower income countries. So when you see an HI here, these are the wealthier countries. And when you see an LMI here or here, these are the low and middle income countries. So if many of the poorest countries in the world live with the worst outdoor air quality, then it really felt like using expensive energy intensive mechanical equipment to clean the air was not a viable option, which is what's done in most wealthy countries, right? We just take that outside air, we run it through machinery which have filters in it. A couple of times a year, the filters are thrown away and that's how the air is cleaned. So my work is kind of what I call a case for low tech high performance, a case for a low tech high performance envelope. And this is where I was trying to kind of address this intersection of poverty and poor air quality. So instead of adding an energy intensive system, a group of undergraduate students and I really were looking at how could the envelope itself do that filtration, do that work of being along? And so over the years I've been fortunate to work with a variety of students from different majors. And if I have time, I can show you a little bit more about that. But the idea was a really simple one-to-one replacement for a concrete brick, a concrete brick that is used around the world for all types of building construction, oftentimes buildings where architects are not involved. And so we wanted to just make a one-to-one replacement and inside of this replacement, there's simply a void, a void that has a tapered shape and that tapered shape creates a cyclone. And a cyclone is a commonly used air filtration form. It's used in vacuum cleaners, it's used in industrial hygiene applications. When I teach about this here at Cal Poly in our wood shop, we have a massive cyclone that is used to separate the sawdust from the air of the shop. So this is not something we invented, but we were the first ones to put it inside of a brick. And then there's another little piece here that's kind of shown in the darker gray color, which we call the coupler. And the coupler does a lot of hard work of separating the dirty air from the clean air and directing all those captured particles and sending them to a place where they can be stored. We'll just show you a couple of pictures of some of our prototypes. So this was our form work that we used to make bricks and we poured about nine bricks a day for a couple of weeks. So for one summer with some grant funding. And then here's our prototype wall. So it's a reinforced CMU block wall. You can see these little air inlets, that's where the coupler is. So dirty air, that's moved by the wind only. Dirty air, outside air can enter through those voids, move through the cyclone and on the interior side, there's an outlet where the clean air comes out. At the bottom of each row, there's this little tiny thing that we were calling a drawer and that's where all of the pollutants are collected. So periodically you open the drawer and those that will just look like dust or dirt can be poured into a compost bin or into a garden bed where it could go through a process of kind of phyto remediation. And here was our last prototype. And I think I'm probably out of time. So I'll just show you one last slide. That it was mathematically predicted that about 50% of the particles would be collected. So we did a number of experiments. We built a small wind tunnel. We used this kind of laser machine to count the number of particles. And so this was showing at a couple of different air speeds and with different pollutants where we polluted the air with corn starch or flour that we were actually getting for particles. We were getting like greater than 60% collection efficiency for PM 10 and about 40% collection efficiency for PM 2.5. So just to come back to this for a second, a 60% reduction in PM 10 would bring 23 of the listed 34 unhealthy cities under the WHO, the World Health Organization guidelines. So I think that was a good kind of test of viability. And then as we close, I'll just show that most of the time this is what I do. I work with large groups of students and I teach building technology. And so we do a lot of hands-on fabrication, visiting of construction sites, testing things on site, building models. And things like that. Thank you. Thank you, Kamen. It's wonderful. Love to work with you one day. I gave you stuff over to Taipei. So next I'd like to welcome Emilio. He's the founder of the Porto Real Estate. Never saw that coming, but it's great on the other side of the fence. 17 years of experience in real estate industry, background in projects management, finance and market analysis, and preso, consulting, marketing, brokerage, business plan development, teaching courses, capital raising, architecture and development. Welcome, Emilio. Thank you, Joni. Can I share my screen so I can share my presentation? Please don't expect a beautiful presentation. I was just able to organize it really quickly, but I'll gladly show it to you guys. Well, before I start with the presentation, as you probably most of you know, after we finished the master in architecture in Columbia, I took a summer job in Beijing working for mad architects. I did an office renovation for them. It was a summer job. It was pretty amazing. Probably maybe the two best months of my life, it was pretty amazing. Crazy things going on in Beijing. And after that, when I finished the summer job with them, I went back to Columbia and did the master in real estate development. So I switched to the dark side. And ever since that, I haven't done any more architecture. I do miss it, but I also do enjoy a lot the business side of the real estate business. And unfortunately, I can't do everything. I can't do both real estate and also design. But I enjoy both. Maybe in the future, I will go back to designing, I don't know. But as of today, I've been just doing after that, I just done real estate things. And I will gladly show you what crazy things I've been up to. Okay, so let me share my screen. Here we go. Sure. Okay. So you guys see my presentation there? Yes. Okay, cool. All right, so I already talked about the, let me check my time, okay. I already told you about the summer job in my architects and the real estate master in, after we did the architecture one. And then after I finished the master in the real estate one, I went back to Mexico and started working for a company called Heinz. It's a US company. And I started as a financial analysis. So they pretty much like threw me a lot of projects that I had to analyze financially. And some of the most interesting ones were the proposals to acquiring buildings. So basically the owners of these buildings, the one on the left is was occupied and owned by Daimler Chrysler. And we proposed to them, it was a sale list back, sale list back is basically that the owner is occupying the building and what Daimler Chrysler wanted to do was they wanted to stay in the building but I sell the building and actually start leasing, renting out the space. So we ended up in second place for that one because we ended up offering the second highest bid. Good thing because actually Daimler Chrysler after the crisis of 2008, 2009, we're in pretty bad shape. So thankfully we didn't take this building actually. And then we also offered to buy the another, this is in Mexico City, both buildings. The one on the right was occupied by Proswaterhouse Coopers and we also offered to buy it. We do all this financial analysis and market analysis. And based on that, you end up proposing a price to buy the building, right? And in this case, the one on the Proswaterhouse Coopers was the same. They wanted to sell the building but stay to rent out the space, right? The same company won over both buildings. I mean, they ended up buying the both buildings. I was pretty stuff about that but it was a great learning experience for me. It was my first like, well for me it was like a really big deal to be involved in these deals and learning real estate finance, which I mean, coming from an architectural background, I mean, during the master real estate and even after that, I didn't know much about finance, right? This was like the real life finance. It was fascinating to me. I really enjoyed it. Even though we lost, we ended up in second place in both of these options. It was a really great learning experience. After that, I was laid off from Heinz. Thanks to the global crisis. And I mean, ever since I have a memory, I always wanted to start my own company and I said, perfect. This is a perfect time. I got laid off. It's a perfect time to start my own company, great. So I decided to start my own company building and managing student housing in Mexico, which is basically, I mean, it's not as professional as you may expect and finding the US or Europe and Australia, obviously, Elliot's, but in Mexico, it's not that well developed. So I saw a great opportunity. I organized all the whole business plans. I did some, everything that's involved in business. Plus I looked for sites. I did the market analysis, the financial analysis, the marketing of it. And I ended up using basically two years of my life. I dedicated for this full-time and no pay. So you can imagine that it was a pretty interesting time for me. I didn't manage to raise capital for this project, unfortunately. I looked back and I would do it all over again. It was a great learning experience also. It's interesting because when you're in the entrepreneur lifestyle or life, as you may explain to it, it's not only about numbers, it's also about really getting to know yourself. You push yourself to the limit, absolute limit, mind, body, everything. And it's like, I learned a lot about myself also. Not only about finance, about racing. I mean, also about people, because at the end of the day, racing capital as called as SidMy Sound, it's a lot about people. It's a lot about the connecting with people and being able to try to raise that capital, which I wasn't able to do unfortunately. But well, I mean, I would do it all over again. It was two years of my life full-time. But yeah, I mean, I stopped doing that. Then after that, I started working for Hewlett Packard. I did data centers. It was very interesting. I have some images I think that I can show you here. I was involved in, they called it commissioning and we were the supervisors of two of the largest data centers in Mexico, which are big in terms of Latin America. And we supervised the companies that did the construction of this data centers. And this is one, well, this is probably the biggest one in Latin America. You see the scale because of the cars and the other buildings over here, the big ones. It's all where the computers are, where the servers and all the other infrastructure that you need to have for the data center to be working. It was pretty interesting. These are all the engines that have to be working. If you lose power, then everything goes, starts working really nice. And it was just huge. I mean, there's an interesting story. The builder who was in charge of building the whole infrastructure, they ended up buying cheap batteries. So we ended up getting a guy from the US to come from Hewlett-Pagger to come check out this place. And he had like this laser gone from like the future. And in a screen, he could see the heat of each one of the batteries. We ended up doing a test, a full test like if the building stopped having 100% of the electricity that it was supposed to be getting producing its own energy. At the end of the day, we were in this huge room and he suddenly shouts, run. And everyone says like, what are you talking about? Run, and he goes running out of the building. And after him as a freaking Hollywood movie, like, I don't know, from Raiders from the Lost Ark from Indiana Jones, the batteries started exploding. And as you may imagine, that material like gets on your skin, well, you're in big trouble, right? So we finally managed to get out of the building. It was pretty intense, no one got hurt. But yeah, this was my experience with the data centers. It was pretty interesting. Okay, so that was data centers. How am I on time? Okay. I ended up doing, I've been doing pretty much everything. I did a, I supervised an office renovation it was in 2012. As you may see this, I'm not gonna say names, but there was a famous architect did the project and the construction of this renovation. I was hired by the owner of the office to supervise the architect. This is not an architect though, what that started in Columbia. So as you may imagine, it was a huge challenge for me because the guy, I mean, he knew about design, you might say, but he sucked for like project management. So I almost got into fights with this guy, with his team. It was a learning experience for me, definitely a challenge, but at the end of the day, the offices were finished and it was a fun project. I was also in charge of selling, I didn't mention this, I was hired by a company called GMD resorts. They have a huge property in Nacapulco, Mexico and I was in charge of selling all the products. So this was the marina that was under construction. It wasn't finished. I mean, this is like recent photographs, but when I was working with them, the marina basically didn't exist. So we're selling slips. I was in charge of that. So I ended up going back and forth from Mexico City to Nacapulco every week. That was interesting. I also sold, maybe some of you might know the brand, Hotel Chain, Banjan Hotel, Banjan Tree, it's a nation chain and they have in the property that my company, that the company that I work for, they had a Banjan Tree hotel called Cabo Marquez in Nacapulco, beautiful hotel, and I was in charge of selling some of the villas. Even though it was a hotel, my challenge was to sell some of the villas as a private property, but it was also like they could also be used for the hotel. So it was quite nice. The place is beautiful. So it was interesting. There was another big development in the same peninsula, which is called Lorriscos and I used to sell property, well, landlords, basically for really big houses. That was also interesting. And also in between and starting from 2012, I think I started teaching everything related to, well, not everything, but a lot of topics related to real estate. I've been teaching finance, I've been teaching market analysis, proper evaluations, business plans. So this is one of the pictures of the physical teaching that I did and the two on the bottom are online courses I already have on Udemy, for example. One is real estate finance for beginners in Spanish and the other one is real estate finance for beginners in English. This year I'm not fully focused, but maybe 60% of my time, 17% of my time, I'm focused on getting more courses online published. So I'm focusing on that this year. I've also done events. I was, I think it was two years or maybe three years that I was involving the Columbia alumni, Mexico club and I organized several events. This was one of the most interesting ones. One of the tallest office towers in Mexico called Torre Forma, it was under construction and the architect who designed the tower was my, one of my teachers at architecture school here in Mexico city. So he, thankfully he was nice enough to do, give us a private tour of the whole tower while it was being finished, it was pretty interesting. The people who you see in the picture are all Columbia alumni from different schools and they all attended the site visit, which was pretty amazing. And I also don't, well, related to the courses, I also do conferences to give publicity of my own courses. It was probably the biggest one, it was maybe 350 people, the biggest one that I've done. Thankfully, it's been nice. People liked the material that I proposed and I also do, on top of everything, I also do real estate brokerage. This is one of the most interesting properties that I sold. I sold this one in 2019. I call it Dracula's Castle because it looked like Dracula's Castle. It was a rundown property, but very interesting in a, in Mexico city. I heard no noises whenever I was there by myself. So it was pretty creepy, but it was very interesting and very, it was a nice thing to happen because it was crazy difficult to sell this property and I was able to sell it, so it was nice. I was a broker, I was hired by the owner to sell the property. So this happened in 2019. Now I sell kind of this type of properties. This is one that I'm selling now. It's really near the other one. It's a beautiful house. This is in good conditions, a pretty big garden. So as you may imagine in any other city, big, high-density city, this is not very common. So this type of properties are really nice to be able to sell them. And I'm in the middle of selling that one. Hopefully I will be able to sell it. What else? I wasn't able to find very interesting things regarding financial modeling from Excel. I could show you Excel files, but I think I'm gonna bore you to death. And also Mark and Anas' presentations. I have several, but I just thought I would mention them. And out of the surprise bucket, I found this great pictures. What other things I haven't done in the last 15 years? I've been going to weddings. Amir's wedding, it was amazing in Tel Aviv. I'm pictured there with Yadal. I went to Lil Dave's wedding 2013. Yadal, I'm gonna kill both of us because I couldn't find pictures from your wedding. I also went to Yadal's wedding and this is an old picture from the good old days, Steven Holtz studio, the old gang over there. And that's it, guys. I hope I didn't bore you to death with my real estate side of the business. And in a nutshell, it's 15 years. Wow, what a 15 years that's been. I can see there's a lot of passion and enthusiasm, even if you switch to the dark side. So really glad. I know, I know. Perfect. So I miss Roberta, very sorry. She's the founder of R.A. architecture. So to name the company with the name, something like me must have some kind of very strong ego. She does architecture interior and development and she also is from Mexico. Welcome. Hi, Johnny, thank you so much for doing this for all of us. It's been great seeing everyone. It's been way too long. So I'm gonna start. It's just a really quick presentation with just several pictures of it. And I'm gonna start before going to Columbia. I did architecture in Mexico where the university I went to, they were very into how much would everything cost, the structure, installations, like doing real, real buildings and houses, right? After that, I ended up at Columbia where they didn't really care. I mean, not really care about how much it cost or if it was completely and 100% viable to construct that. And so when I came back home, I had these two clashes in my head, not really knowing what to do. And my father said, well, you know, this, my godfather is doing buildings and he's doing really nicely. Why don't you do one with him and see what do you think of it? So this was my first building going back from Columbia and all I wanted to do is show that it didn't really matter how you put the brick. You could put it in a nice way and look much, much nicer because the other buildings were just not nice at all. So we started doing more and more of the buildings and each time I made a building, I could convince the partners that we should invest more into the beauty of it, like in the gardens, how would it would look of having roof gardens and that sort of things. And this was my last building. I've done some others and now they trust me. Now they give me a little bit more of money so I can really do something nicer because they think that people in the end appreciate it. It's really nice not having a client, but you have partners. And it's really, really difficult, the budget, the timing, having to do all like all the building with the budget and the structure and the installations and everything and to be affordable and to gain money on top of that. So I really, really got into seeing materials, what costs, how much time it will take, real market studies, what was selling around. But as I did this, I also did my own architecture firm where I had clients and that's very, very different. I did this ranch that it was pretty, pretty big. It was a big commission. I really wanted to do all I wanted to do in design an architecture that I couldn't do for real estate developing company because it was all about budget. Over here, it's all about function and the client being happy. And then the client saying, I love your architecture and I want more and the people visiting it and saying, wow, this space feels amazing. So one of the big things about this project is that it's in the nature, in the forest. And I wanted to use all the materials I could that I could find in a forest and that were from the place. So that's why you can see it's a wood or stone. The stone is from that region. I wanted to have the less environmental impact possible. And so this was designed from head to toe, from the architecture to the interiors to even the China. Even the China was designed for the client. It's for cabins and then it's one bigger cabin where it has this movie theater. I wanted to create that space, the wine cellar as a vertical living space. It's a huge space where it's a five meter diameter by five meters tall. And for me, it's like an approach of trying to do vertical spaces being habitable because they're so big. And as you can see the glass floor will pop up and then you can come down the stairs. And it was great. Like this is the owner's bathroom shower and I had to convince him that it would be great to shower while he was seeing all around him the nature of it. And it was great, but it's, I must say, a huge difference between doing things for yourself, earning more money, of course, but being in a very tight budget and not really being able to go big on architecture against having a client with more budget, with more architectural freedom, but they have to like it. It has to function really well. Everything that you do has to be for a reason, right? And this is my last project I just ended in January. It's just some pictures of an apartment, only in tears. It was, I'm sorry, if you start hearing screams, my kids just got home and homeschool for you and have has, they're crazy now. And so this project was really nice because the client said, do whatever you want. And I had all the liberty of doing whatever I want. So I was really happy. And now I think that after COVID, I had COVID last year and I got really, really sick for many months. I was feeling really bad and I stayed a lot in bed. And the thing is that it kept me thinking of what I should do for myself. So I started having a year for myself on health and mental health, spiritual health, emotional health and physical health, right? So I started meditating a lot. And now I think I'm gonna start turning a new page where I wanna combine everything that I have learned and do some of more conscious architecture. I wrote, I was, I did a really big meditation yesterday because it was a big day yesterday for meditation. And I was thinking of these words and this is what I, it came to my mind. So my new path as an architect is to combine all I have learned so far. And now my architecture is with great consciousness where I can do what I love and earn money but with a greater meaning and intent with social contribution for what we create as architects prevails. And so does that intended positive energy adding value to this role. So you could say it is a mindful architecture which will help continue with myself development and professional contribution. So, I'm sorry. So that's it. Johnny, thank you so much for organizing this. It's been incredible. Thank you very much. Great. Great projects. I believe even with my experience after 11 years that you just have to be yourself and the work shines through you and then the clients that would just love what you do because you know, you attract the right kind of clients and then love the wine cellar. Okay, great. I'd like to introduce the next speaker. Amy Campos. Welcome Amy Campos. So practice is architecture, interior and also teaching. She's published interiors beyond architecture. She's also the associate professor and chair of interior design at California College of Arts. Welcome. Thanks everybody. This has been incredible so far. This is such a great program and it's so nice to see like the amount of impact our classes had just one class coming with Columbia. It's incredible. Give me one second. I'm gonna share my screen. Let's make sure this works. Here we are. All right. Let me see if I can make sure that this is full screen. Does this look okay to everybody? Hello again. All right. So I will try to keep on time here. It was really hard for me to jam like 15 years of things into one very quick presentation. I came to Columbia after taking a couple of years off after undergrad. And I worked for a number of different firms doing retail rollouts and university buildings looking at music college, physics building for MIT a number of different sort of very large scale projects. And I came to Columbia with the intent of learning a bit more about architecture expanding my history theory knowledge and also to gain the qualifications to be able to teach because I had started teaching before I came to Columbia as well. So I'm gonna go through this as quickly as I can. So I tried to organize this into three categories. They aren't actually this organized in real life so they often are tangled up but I do make things. I design, build and I tinker. I teach quite a bit and I teach because I love to learn collaborate with students and I lead now as chair of our program. And I also write, I do research. I discuss ideas with peers. I go to conferences and things like that and I publish papers and books. So let's start with making. Because I teach, I kind of organize this around not every project I've done. I've done big things, small things. I included a number of key projects some of which are quite small, you'll see that really helped me to kind of formulate the way that I think about my values, goals, research and practice as a teacher. So I'm gonna start with a project that was one of the last projects I did in New York after graduating from Columbia. I went to work for a small sort of forward-thinking residential firm, Ultima Architecture in New York. And I worked there for three years before coming back to California where I'm originally from. And one of the projects that we did which was very small, very short was to participate in an exhibition that was looking at the issues and issues of disposability and seasonality and design. And so we built this very weird table and it's a response. This is a table built entirely out of egg carton and flats, flower paste and plants. Really weird design. It produces really interesting, tessellated sort of forms. But what was interesting in this particular exhibition was that there was a very interdisciplinary mix of exhibitors from textile designers to graphic designers, industrial designers, product designers and architects participating in this exhibition around this theme of disposability. And I was really interested in the kind of issue of impermanence and adaptability in the built environment through this experience at Ultima Architecture working in New York, primarily doing interiors. And then this sort of odd project working on this weird table, it solidified an interest in that impermanent adaptive quality of the interior. So I applied for tenure track position at California College of the Arts, where I am now and came here in 2009. So I've been here almost 12 years, which seems like a minute since we left Columbia. And I started working as a teacher but I also started working on small projects. I'm gonna just talk about the making and then I'll talk a little bit about the teaching. So this was a very small project for two letter designers, letters like the letters you see on the screen there who were sharing space for a short period of time. And my task was to design a series of furniture pieces that were equal. So even numbers so that they could each take half to their next office and build more. So we produced this series of kind of modular furniture elements, the desks, shelving, a couple of other pieces that could move around. And the intent was that the space could be flexible and adaptable. It could be a workspace during the day. They could host workshops and classes and things like that. So the tables could move into the center. And then it could also host parties and gatherings in the evening. And I think there's just some other details here. Sorry, the image quality is not great. I also didn't have a huge amount of time. But you can see some of the finer details that we were able to build into the furniture because the space itself was very temporary. What was interesting here for me, in addition to the kind of cardboard table, is this idea of like permanence and impermanence. And here the kind of flip of projects that held more permanence for the owner than say the architecture itself. So that's something I've been really interested in. It seems like this is skipping forward, but that's okay because we're running out of time. There's a series of other projects that deal with this kind of like installation and disassembly projects that move with owners, the kind of permanence of the interior, the impermanence of the architecture in relation to the user. And this slide I'm talking about teaching. And so my teaching practice I've been at CCA for over 10 years, I've taught over 50 courses in five different programs. And now I've been the chair of the program for two years. And that in itself as a whole project, like Amelia talked about, I could show you tons of spreadsheets about what it is to run a program and what it is to structure curriculum. But that's been a very interesting sort of project. So this is totally out of order. This is actually back to that office space. Let me see if I can just exit this quickly and see if I can get myself back on order here. So I'm gonna skip forward. So you can see a series of different large and small projects with various different installations here. I know this is like not the way I should be presenting, but just to kind of move us along. Different installations that we're again dealing with a kind of assembly and disassembly projects that move with their owners. And then I'll talk very briefly about this, let's say this hair salon where we were looking at a space that could also be retail, party space and hair salon working with the hair salon stylists themselves to design and build the furniture themselves. So even the methodology of communication change where I had to build these kind of instructional models for them to be able to build the furniture themselves. So you can see the scale of detail here. All of these stands could go all to the side and become gallery space that could, you could hang artwork in front of the mirrors and things like that. Different installations while installations paint and things like that. And this unit that could be, they could aggregate more and more of them to produce more space, more party space and sorts of things. And then we're currently working on our own house which we see as kind of like a series of shells. It's an existing house which you can see here on the right side of the screen. And then this is the kind of current version of it with our kids sort of living in this construction site dealing with skinning a house and kind of wrapping the space and trying to reuse the existing structure but build something new and play with these kinds of textures that bridge a kind of interior and exterior around this existing old structure and the new one. So let me skip back to the teaching and sorry, these are a little bit out of order here. Some of the things that we've been talking about in interior design and the program is to look at the kind of broader reach of interiors as it applies to larger sort of broader public spaces. So this is a studio, I taught where the students were looking at all of the public transportation systems in the Bay Area, redesigning the interiors of the train, bus and ferry systems here as community space, workspace, programming it for different thinking about a sort of broader public effect. And then this is one other student project I wanted to show where we actually partnered with a food bank in Alameda County, an atypical client in the context of interior design but I think it was an interesting conversation about the impact that design can have on constituent groups, members of our communities who usually don't benefit from design services. So we redesigned the students redesigned and the kind of shopping experience within a food bank as if it was a high-end grocery store to bring sort of organization but also nutritional education and dignity to a space that some people felt uncomfortable sort of going to before. And then very briefly on the writing part of it I do a lot of research which I really love it allows me to connect with peers all over the world much like our class from Columbia. And in this case, I've been working with a series of different really fantastic brilliant collaborators to build up a set of theory publications centered on the topic of the interior of architecture. So I have a chapter in the interior architecture theory reader, a chapter in this three volume publication interior futures, forthcoming chapter in this interior inferior in theory a publication that came out of a conference in Berlin a few years ago and then my own publication that I did with a colleague in New York, Deborah Schneiderman who's currently at Pratt looking to again much like the teaching studios sort of expand the reach of interior design expertise and touch on issues of permanence, impermanence, public contribution, all of the things that we see interiors and interior architecture taking on. So the book is organized in three sections looking at interiors without architecture so mobile interiors, infrastructural interiors things like that, the autonomous inside, retail spaces, et cetera, et cetera, film spaces and then the hyper interior. So this is actually an image from a film and space Odyssey 2001 but actually the proceeding space capsule that was designed and sort of based on films and there's this kind of interesting loop of intersection between how we imagine a future based on the design of built environment and what the reality of those environments actually looked like. Okay, I think I met time. So thank you very much. Thanks, Johnny for organizing this and thanks everyone for your presentation. Oh, what a beautiful presentation. Sorry for a little bit out of order. Beautiful presentation. No worries. Thank you for contributing to the teaching industry and do inspire your students to come to Columbia. I'm sure you can write them a very good reference. I think if you have, I think if you have. Oh really? Yeah, I have students all over the place. I'm quite proud of them and a few of them have gone to Columbia too. The school will be happy. Yeah. Next, I'd like to welcome Jadal. Hi, Jadal. She's the principal and the owner of CO2 architecture. She's based in Haiti. Her industry is development and design built. Welcome. Hi. Okay, can you, can you see me yet? Okay, wait, let me, okay, I had all this settled. Okay, can you see my screen? Yes. Yep. Okay, good. Okay, started with the map because I saw the time zone was off in the list. So just to be sure, I'm the Caribbean. And when I, in my case, for example, when I finished the program at Columbia, I was 23 years old because I went straight from undergrad to grad school. So after graduation, let's say I had a large gap to fill. So I started working at Studio Daniel-Liebeskin with a couple of graduates, like a whole bunch of us that are working there. And I ended up being an intern to my classmates, for example. So it was very interesting. When I stayed there for, I think approximately three to four years, I learned a lot and I grew. And then eventually in mid-2009, with the connoisseur was laid off and had to basically leave the United States and come back to my island. At that point, I did not want to come back to a third world country, you know, living in New York. So I decided, oh, I'm gonna move to Europe. I moved to London. Did a course at AA and said, okay, I'm gonna make it in London, but thanks for even worse in London than they were in New York. So ended up going back voluntarily to the Dominican Republic. Basically what changed everything for me was the catastrophe of January 2010, which was the earthquake in Haiti. It led to, it opened up Haiti to international public. And basically there was an opportunity for the country to be built. And I moved to Haiti basically, like we're in the same island, and started working with the private sector. And originally the projects that I worked for were basically, let me switch this way. Okay, the projects that I worked with were basically based on a commercial building. So the first building that I did was, I worked with Audi, Haiti. It was a small showroom of an equestrian for Haiti following the guidelines and designs for Audi. But what this project did for me more than the architect and the building of the project itself, it was that it opened up to a vast variety of clients. And basically from there on, I do what is design and I built. I designed to build. My goal is to build. The African Construction Company of engineers working with me, I am, and basically that's what I do. So first project opening up a lot of clients before, within the showroom, and we also did the garage for Audi. Another project we worked in, for example, building remodeling. All these buildings are old. They don't have a lot of, there's not a lot of technology, building technology, building methods. We're talking about buildings are made out of masonry, block and concrete. Everything has to be imported. We're not talking about countries. Well, like the price you guys have worked in or you produce and it's a different environment, but we tried to do our best. So for example, we did this facade remodeling for this building, which was a bakery and it was the headquarters. Very solid building, no windows because of security reasons. And the client basically wanted to close off all the windows and this was a project. This was one project we worked with. Another project I worked with. For example, we've been doing design and waiting for, this is for example, a furniture store. Very straightforward building technology, metallic structure with facades and all the materials, even the glass has to be imported. We're waiting for this construction to get going. So right now it's a design project. So let's say after five years of working with commercial buildings, then, okay, it was done. Everybody redid their businesses. What do we do now? So I started working with the private sector but in residential projects because there's always needs for residents. So for example, this was a project we built last year. It was a, as you can see, local materials, stone, concrete, it's all based on blocks, concrete, wood, stones. And that's it. And we tried to play around with the architecture using the local materials. This are single-family houses. At the same time, started working in multi-family houses. In this case, we built four residencies. As you can see in the images, all masonry blocks, straightforward construction, no isolation, no other fancy things that, you know, you need in other countries because we don't have any weather restrictions. And basically in this case, we designed and built four houses. It's important to know that in Haiti, for example, that's where I work the most. Clients are very, because it's such an economic, this is not stable in the economy. Clients are looking for builders that will build and finish their project in speed time. So basically we started a project and we did, like this project, for example, was done in five months. So we go, we do, we build and we deliver. People feel like their money is safe because we are building and they have their product right away. What happens normally over there is that people give money to build a house and they last 10 years to finish. And basically that's what we're doing. At the same time, for example, this is a single family house that we're building right now at the beach. It's a collaboration with Fleetwood Fernandez Architects from Los Angeles. They are, let's say the main architects and I'm working as a local architect and construction firm. So this is the beach project also in Haiti. And basically it's looking very forward to continuing the development. Here you see how the construction is going. We already have three months in and basically this is gonna be one of the biggest projects I've built over the last 10 years as a single family house. And then basically what I've been trying to do over the last 10 years is get out of Haiti and work in the Dominican Republic because at the end here's where I have my family and it's safer. There's a lot of reasons but I get being called to work. So at the end I'm into building so I go where my clients are and I really made my name. So this last project, which is a collaboration also it's a project that's under development and it's gonna be built in Samana which is another part of the island. And basically it is, this is our, let's say our future project which we intend to continue the development of the design locally with international companies to work on this mountain resort basically. So that's the end, mine was very short. So I just wanted to explore the things that I've been doing over the last 11 years and basically what I've learned from Columbia and my experience in working in New York and then going back is that it gave me the means to, like I know what is outside my, no, my sea, my island, I see, I am contacted and I know what can be achieved and slowly trying to see how we could bring all that technology to countries like ours. And I've dedicated myself to construction basically, well, it's a lot of reasons but mainly because of the economical reasons behind it because coming from this country itself it's not like the quality of life that we could live. It's like you have to, I mean architects, they don't get paid much. So basically we end up being forced to go into the construction company but trying my best and again, designing to build and that's what I do on my day to day basis. Over time I've gone away more out of the design and more into the construction administration. So I have architects that are working for me and I basically just supervising the designs the same as supervising the engineers. So it's, and I think it's a growth because at the end you're building your own company and I guess architects also at the end do that. You know, architects who are working for you, it's your name, you supervise and it's kind of sad in a way, but that's the reality of it. Anyways, I've had a very good time seeing everybody and all the work that you're doing and I'm very excited also so in the future if I have bigger projects that I could cooperate with my foreign architects, you know? Bring it in so I could build your projects. So it's good. Thank you, Jadal. Thank you very much. That was very beautiful. I think it's, yes, I think it's always great to go back and to your own country and then find that route again and find something passionate that you love and continue to build on it. And I think you'll be in inspiration for many, many. Next, I'd like to welcome Paula. She's the founder and principal of Archibird. Archibird is an experimental design unit based in New York and Buenos Aires operating through practice, research and experimentation, multi-disciplinary collaborations and teaching. Welcome. Thank you. Okay, so let me share my screen and I am recently changing the name of my company. So the ego is driving. So it was very, very hard to put together 15 years in a short presentation. So I decided just to do a few slideshows of moments that were very important for me and I will do a summary of what's happening. So basically I moved to the US with my husband because it was his plan to go to Columbia University to do his MBA. I was already an architect licensed and had my own practice in Buenos Aires. So I had no intention to go back to school. I thought that I could go to New York and just be me. And I applied hard and into many, many offices. I think I was lucky to land a job for about six months in architectonics. So I worked with Wink and Davaldum. And in that office basically was where the idea of like this master degree from Columbia University was pulling my head. Every single one of the people working in that office where you have to do this. If you take yourself seriously, you really have to do this. And I was like, okay, maybe I do. And so I think like during my husband's first year in the MBA, I apply and I never look back. I am incredibly happy with the degree of how much my life wasn't reached. Thank you. Thanks to the master degree, the amazing, unbelievable, talented colleagues I met like you that also made me better. So I would never look back. So I worked very, very hard in my degree. I was very lucky to have Bernard Shumi as my fall and final spring professor. In the design studio. And then I was also lucky enough as soon as we finished the degree to get a job in his New York office. So I'll show you just a little bit of what I've done there. I worked for Bernard almost five years. One of my first and most exciting projects within the firm was renovating two foils. So he did this when I was seven years old. So that was Nomi. And then when I was getting into his office, it happened that a mobile phone exploded and the park needed antennas. So I was in charge from the militias to renovations of these foils at four and P eight and explore with geometry, all the possible antennas that wouldn't look like antennas. So I think it was very rewarding like putting a pink in history. So it was a really nice project. Among the years I was working there, I work in book design and editing. I was his teaching assistant for all the years I was working there. So I learned to create sea levels for the spring theory courses and brand design studios in the fall. I am very grateful that I didn't know I would love to teach. I learned that I love to teach. I think I love to teach because as Amy mentioned, I love to learn. I think that learning keeps me moving and makes me more interesting to myself. So I think like a part of my learning with him very big was that. So these are some images of projects we did. This is a museum. I work mostly in the facade for this museum. This was a master plan with the Dominican Republic. And from the big master plan, I only work in two buildings, the convention center and the hotel. So it was this convention center and this hotel. And then this was a competition for a train station in Australia. And then one of the other interesting project that I thought I participated in and somehow now when I was trying to put this presentation together, I thought, wow, it did have an impact in me was this school. So this was a fabric, a factory, sorry, a fabric is like in Spanish, a factory that we got renovated and we make an art school. My part of the projects that I was mostly involved was the design of this courtyard and the egress stairs from the building to the courtyard. And I work also on the entry foyer and part of the screen for the main building. So in this project, I spend months designing the details of these stairs and high railings and going back and forth because the New York office will collaborate with the office in Paris in order to make the projects in Europe happen. Parallel and almost with a step out from Bernard's office, I also have my own projects and my own research published. I was at that time very interested in parametric design and I did explore a lot of geometry conditions. That's why some of these situations were explored in the first project that I work in the office. So I was working with some parametric geometry to develop new architectural expressions. So some of those research were published. And I would say five years after these and with two kids already, my personal life was taking a big impact in how much time I can dedicate. So from 2011, I left Bernard's office and I took a position as an assistant professor in Columbia University. So I could sort of work part-time and then be present for my family. I am originally from Argentina, as most of you know, and I have no family in the U.S. So these kids that I decided to have needed their mom so to be around. So teaching was a great way to be connected with my profession that I love and still have enough time in my hands for the little ones to grow up. Without even planning it in the meantime, while I was teaching, I started getting some projects locally. I could work from my home office and some of the first projects I started developing were, well, locally. So one of my first projects was the design of a mural for the Westchester Children's Museum that at that time was like host in an abandoned lot building where we were like trying to raise funds to get the actual museum built. So I think it was an honor to help and develop this mural for this space. This mural already has seven years and still holding strong. And I am very happy to come across pictures of people taking in front of this mural. So I think like it was a small thing that touches my community. I also work creating designing and getting permittings for this outdoor classroom in a Kolemi community where kids can use it half of the year. I am in New York, so as you know, it's very cold and the winters are harsh. So but when the spring comes, this is an amazing place where kids can learn performing in the stage and create music. And so it was also like a very rewarding project. My practice wasn't planned into one specific like type of architecture. So as I've done those two that were more like institutionals, I also had a couple of commercial projects. So this is recently completed. Actually, this was completed in February when the pandemic hit. It's a Brazilian bakery in Mamaronec. So for this one, I did all of the interior and although I didn't put pictures for me, it was fascinating to learn about industrial kitchens. So I think like learning from the venting systems and everything stainless steel. And we had all this idea about having this warm and cozy front of the house but having like this impeccable shiny with the correct amount of lumens on the working table was also fascinated. I really liked that part of like the work itself. This is another project, a commercial. It was a takeout and delivery center and this was in Buenos Aires. And this was a Japanese restaurant. And I play in this one with the idea of paper and the tradition of Japanese architecture. So these all were, I did a little research in order to be able to get paper approved as a material that wouldn't be flammable in it. So I thought it was kind of a small expression but also a small project but very rewarding. My practice now is, I would say, 95% residential. Right now, these are just a few of the examples of the type of homes that keep me busy in Westchester. So I work, I live and work mostly in Scarzel with projects in Bronxville, Scarzel, Greenwich, all these area. So all these projects are mostly private owners but I also work with some real estate developers for whom I design houses and I go through the entire process from selecting materials, presenting for board architectural review. What I thought it was interesting coming from Argentina and kind of learn a little bit about this vernacular expression of architecture is that colonial architecture like for me coming from a Spanish colony, it was completely different. So I almost had to do a curriculum for myself and go back to school to understand why people were asking me for colonial homes and what's the impact of that and why people will relate some of these geometries and materials into this idea of the happy home. So I had no actual attachments to a style when I started swimming in this sea of residential architecture. So I still find it fascinating to learn why people ask me these type of things. So I think, yeah, I think it's very interesting. What I found recurrent in most of my projects is that even though I am working in these towns where the board of architectural review is very tough and they are actually asking for these type of exterior, more traditional architecture in the interior of the house, most of my clients come from the city and they do want kind of these contemporary interior spaces and I guess the same way I was putting a lot of care designing stairs for the art school, I have a fascination for the design also of the stairs inside the homes. I am designing. So I thought it was interesting when I was trying to put some images together how many pictures I had from stairs. So I was like, okay, I'll do a slideshow of that to show you how I've been exploring connections of a glass. This was very challenging because we had sourcing problems with the China importation stuff at the beginning of the pandemic and this stair took longer to be fabricated. But then in this case, this one was all sourced locally and it was done in no time. And this one is one of the project and the construction. Maybe I'm going too long, sorry. I'm going to jump quickly. Yeah, Paula, you're coming up. Yeah, sorry. Yeah, so then I will just show the last projects. This one is right now under construction. So it's a house also in Scarzel where we did a front to rear flip of the house for zoning and then the rear of the house in the quiet street became the front of the house. So it was an interesting challenge and how the interior space was organized. So these are some pictures of this house and the construction now. And then this one is the last one that was a result of like the pandemic. This is the first house that is going to be built with a modular system and it wasn't the first project ever. It started from beginning to end where I haven't been a sitting person, my client. So this is a project out of the pandemic where all the different players have met only on Zoom over the last seven months. And hopefully we will have the building finished by September. Okay, thank you for letting me share my work. Thank you, Paula. Beautiful work. Thank you. Everyone, really great presentations. I think throughout one day, point to speakers show a diverse range of projects or professions. I'm really proud of you guys. Great job. So one quick question just for the speakers here. One most memorable experience from Columbia. Go, Paula. Well, I remember our bodies in the stair. And so it was interesting. I also remember because I had my husband in business school that I took a few of my friends into the business school parties. So, and the long list, the super long nights, I think like, I miss working hard and not having to run back home to pick up one or put in someone to bed. It was like just us and our architecture. So I think that was great. Emilio. My most memorable moment probably, Yadal pulling Francesco's hair because they were fighting. No, I'm joking. I miss the environment. I think at some point it was very interesting because we were from pretty much all over the world. And maybe after some weeks after we started, I felt like we, honestly, I felt we were like a family that we know each other forever. And it was very interesting to me because at some point I felt that everyone was in the same frequency. And we were working hard. We wanted to do things, but at the same time we were very interesting in building those friendships and relationships that after 15 years, we still have them, right? So I remember the excitement of being there. But it was very interesting to me that at some point, even though we spoke different languages and we were very interested in different things, I found that we were in the same level at some point after some weeks. And that was pretty amazing for me. Carmen. Yeah, I'm trying to think. Sorry, did you say Carmen? Yeah, yeah. Okay, that I was trying to think for a moment if anything in the curriculum in particular stood out to me. And I know for a fact that the curriculum and the faculty and the lecture series and the galleries and symposium, I know that those were very influential in still how I think today and really just helping to open my mind and my heart to many ways of thinking about the architectural possibilities. But I have to say the memories are also like social, social connections being together, like laughing hysterically. And as Emilio said, I can vividly remember at the end of the summer term, I was going to return home for a week or something to see my family and staying out and getting a taxi like in the street because I had to go directly from the street to the airport to catch my flight at like four o'clock in the morning and feeling a great sadness that how much I was going to miss my classmates for one week of being back home with my family because we had just bonded so to such an extreme level in that over that summer period. Siddal? I was, you know, when I went to, when I was an undergrad, I remember thinking, oh, you know, I'm not gonna, this is like my thesis. I thought, oh, this was the hardest thing I had ever done. And then I love that so much all night and for the show at the end and we were just working all the time, all the time. But we had time to be, to have fun also, but we did work a lot honestly. And especially, you know, because of all the different cultures that were in the program, I think at a point there was like a different type of, even work ethics that forced you to like wanna be better, you know, like you were in the room and you was like, oh, this guy next to me still working. So, you know, I have to keep on working. So, you know, we have to keep on doing it together which made at the end that the quality of the work of the studio was elevated because of all this different work ethics that got together. At least that's how I was very young, you know, I was 22. So for me, it was like, oh my God, I'm working too much but it was good at the end. So I hope I would go back again now, maybe to school again. I had me doubted, you know, with kids now and all the same but, you know, it's good for people who are going to school now to see that, you know, there was people that had families that say like Paula and others who were just like, just graduated but then at the end we were all there together and with the same purpose. So, I don't know, it's kind of interesting. Roberto? Well, for me, every home became my home and you guys became my family and I still think of you guys and every home as that, you know. I just went back a couple of weeks ago to every home and it was so, I was like, I wanna come back here. Maybe I'll do one again, you know. And I do remember very high architecture talks that I had with many of you guys where we were so tired sometimes and in the middle of it I was thinking that, am I really tired or is this person this high intelligent architecture person that I'm not even understanding anymore what's going on? You know, and something that I really, really remember is once that the fire alarm went off and we didn't care. We were about to have a final or something and nobody got out of the building and all of the fire, the firemen came in and they were really, really angry and they had to kick us out because we didn't care if it was really on fire or not. We were not gonna stop working. I don't know if you guys remember that but it was, I think it's a really funny story. Yeah, I remember that. Amy? Yeah, I mean countless memories really. I think so many different random intersecting conversations with every one of you that were just fascinating. I think that education, like Herman said like the faculty and lectures and all of those things of course were stellar but I do think there was a kind of social education that happened in such an intense like short time at least for the AAD students who were there for one year. It just felt like an incredible experience and having taught many different classes of students since then and seeing that perspective of like what the connections might be year to year and different cohorts of students. I really think we had like such a special group of people. It was very supportive and interesting. Everyone was extremely talented and smart and open and sharing and I mean so many good memories. It was amazing, yeah. Thank you Amy. Alice? Hi, I'm in my other office which is my car and I've been listening the whole time but I won't turn my camera on because it's just gonna get crazy. But yeah, thank you everyone. It's been so great and I'm so sad that I've just had this chaotic morning of dropping my child off and trying to just trying to make sure I'm listening and watching everything that's happening as well. So apologies that I'm multitasking. But for me, I guess that kind of typifies what I remember about Columbia and that was focusing on design, focusing on thinking, focusing on work but focusing on developing these beautiful friendships. And as everybody says, I can't think of a more kind of perfect time in my whole life even though there were lots of things happening around but it really is just such a shining light and the best thing I ever did in my life for now having children, I think this, I would do everything to encourage them to travel from Australia which is really far away and study over in the States just in the hope that they would have the kind of experience that I had. So very generic kind of response but it was just like perfection meeting all of you and studying with you and learning from you all. And I hope that we can have a symposium in person soon that would just be amazing. And then just one specific memory would have to be Bernard Shimmy dancing on the table in Athens. It's always a beautiful one. Thank you everyone. Thank you, it's very beautiful. Yeah, I do hope that we can do meets in person soon. Lastly, I want to thank Leslie Cole. She's assistant director at the development office of Columbia GSAP. She helped us to put all this together for two speakers in one day, it's now easy task. Thank you very much Leslie. Columbia alumni is a really huge force that all the students and all of them I can tap into, I believe there's an office on 112th Street that you can use as an office and printing and do visit the school when you go back, visit GSAP, visit your professors and yeah, just use a resource Columbia, very powerful. Thank you very much to all the speakers. I believe we can stay on and do some happy hour. Leslie?