 Welcome everyone. I'm very excited to be virtually with you today. I'm Marlon Draus. I'm the dean of the school and the director of the MR program and joined by amazing faculty today that are also excited to welcome you to share more about the program and answer your questions. So I think before I show you a very, not too short, maybe 10 15 minute presentation that can be followed by questions that I want to introduce everyone here on the screen, and I'll go in the sequence. First, we have Lola Ben-Alon, assistant professor and the sequence director of the building science technology of the MR program currently teaching 81 environments and architecture. We have David Benjamin with us, who's an associate professor and the sequence director of advanced studios currently teaching advanced five studio and focusing on carbon and design. Then we have Amina Blackshire. Amina. Hi Amina, who is an adjunct assistant professor currently teaching core one. And then we have Mario Gooden. Hi Mario associate professor of professional practice and co director of the global Africa lab. Mario will also be interim sequence director for the advanced studio. Next spring, Jerome Hafford. Hi Jerome, an adjunct assistant professor currently teaching core one studio, and we have Andres Haki from his office in New York associate professor of professional practice and director of the MSAAD. Laura Kergan. Hi Laura, professor and director of the Center for Spatial Research. Laura also directs the visual studies sequence and currently teaching advanced five. Next, Reinhold Martin. Hi Reinhold Professor, sequence director of the history theory sequence of the MR director of Temple View Center for the study of American architecture currently teaching questions in architectural history. Anna Pujaner. Hi Anna, associate professor of professional practice and coordinator of core one studio currently teaching core one. Hilary Sample. Hi Hilary, IDC professor of housing design and sequence director of core studios, and Gallia Salomonov. Hi guys, Gallia associate professor of professional practice currently teaching core three. And last but certainly not least, Mabel Wilson. Hi Mabel. Nancy and George rap professor and co director of the global Africa lab director of the Institute for Research and African American Studies currently teaching advanced five. Welcome everyone. So let me share very quickly, a little bit more about the program and make sure you have enough time to see that I missed you. I didn't see you. Assistant professor and coordinator of advanced for studios. Yeah we'll be giving the talk tonight so I hope you will all attend. Here we go. And so I do hope that soon enough you'll be able to visit the campus which is the heart of the city and the heart of Harlem, and is is just a kind of great place where people really come together from very many different places. I like to say and I know is if you've seen my welcome that the school is really very much about scales of engagement across all of the programs with the issues of our time climate change of course equity social and racial equity in the built environment as well as data and design and how data is transforming the built environment but how we have to engage it critically to know how we can transform it in turn this really sort of these kind of issues transpire across the programs across scales from infrastructural scale to the scale of the material to the dimensions of embodied energy and a lot of issues with water and resiliency especially through our urban design program which is part of the architecture programs and very much infiltrates the mark in terms of sharing faculty sharing research through the center for resilient cities and landscape. With the questions of equity, you know this this this moment we're in has really highlighted how much the built environment impacts, people of color black people, people who are vulnerable around the world and we as architects and as practitioners of the built environment understand how we can transform the built environment to make it more equitable through mapping and understanding these relationships between inequity and what is built. We can empower others to transform the places that we live in and create new more equitable communities. These questions of equity also transpire through the way we represent we understand our history, this was a beautiful performance by Mario Gooden last year, which literally dematerialized the kind of walls of Avery as auditorium connecting the courtyard above with this face below through the platforms and video. So the media that we use to kind of undo the tools and our histories are really crucial. Equity is also housing and I would say the school is, especially the MR program is very strong in in kind of advancing questions of housing, more equitable housing with the long history, both in New York, and beyond, and great opportunities scholarly across our faculty but also in terms of practice and design. I mentioned data and design we have a fantastic Center for spatial research led by Laura Kergan, which is really developing new ways to approach data critically to change how we draw the relationship that we exist in, in order for us to transform them whether it's across issues of preservation, or kind of registering conflict and how conflict shapes cities. And beyond it's really a cross cross program conversation this was urban planning conference led by Leah my sterling. Also last year called digital urbanisms which looked at data and cities very critically. So how do these ideas sort of transpire through the MR program itself. And, you know, we are an accredited program we are a professional program so you could say, much of what we do is already or teach could be already sort of scripted but in fact we also try to undo those scripts and if you know the sequences I mentioned sequence director today, the studio sequence and history theory, technology and visual study and professional practice. These, these kind of exists, but our role is to transform them to create intersections and to empower our students to ask questions. So, you know, really the core, which are the first three semesters of the MR are what we like to think of questioning the core questioning the discipline everything from architectural history to what you know what is studio today to how we think about technology for the future or how does visual studies and visualization transform how we act in the world to assembling positions through design in the last three semesters with the advanced studios where you as a student bring all those ideas and enter into dialogue with your peers with your faculty with with the city beyond to kind of claim a position vis-à-vis architecture. And so we have great breadth of offerings both in terms of the required courses but also in terms of the electives and various sense that students almost form their path as they find threads of interest that they want to pursue. For example, to sort of sequences that have increasingly intersected and new and exciting way is the visual study sequence and the technology sequence that are really coming together and critical and, and kind of sort of ways that there are also filled with imagination and potential for new forms of practice. And, you know, these are some of the work that was done last spring where students, as you know when remote and sort of started to retool the platforms they were given to find new ways of community and collectivity as they were sort of engaging with these tools. We developed over the summer the GSAP skill trails with that Dan de Jong at young faculty, and this is open source so if you're curious about scripting or engaging in a new software you can access this and learn quite a bit and so you know these ways of thinking about visualization and and video and and kind of time in architecture are really taking a very interesting kind of place in our in our curriculum using technology to understand the built environment in new ways whether it's client environmental or again around issues of equity. And this was a fantastic conference called empathy and immersion, you know how do we make sort of technology more human centric more place centric and bring it from outside the walls of every into into the city. And so this kind of very digital sort of dimension lives with still a very analog dimension as well where the two are hybridized this is, I'm Josh Jordan, explaining how to take over the making studio this fall and next spring. And this is a very much a kind of space of coming together that serves the architecture program but also brings other programs as well and making is kind of connecting the, as I said the digital with with the analog, but also not just in terms of kind of form making or understanding beyond that you know what are the materials that we use and in particular, how do we think about questions of embodied energy, who makes things where you know how much do things travel, you know how much energy does it take to assemble all these parts. Those are all the ways in which we kind of look at architecture as a sort of frame to which to understand the broader world and so issues of transformation in terms of the materials and kind of life cycle and span is really crucial. And kind of understanding all of that through through making and questioning the kind of normative materials that we use to propose new materials. And here I want to show how you know these ideas that are sort of or the completeness of making really intersect for example with the core technology sequence these are exercises that Lola been alone did this past fall with the first year students and third year, sort of asking what you know what should technology assess today or what should we assess today, food, energy, climate. These were some of the responses from first year students and then the third year students said yeah but we have to go beyond, beyond our understanding or kind of smaller or more focused understanding of technology and how does technology connect to labor practices to racism and anti-blackness to capitalism migration, greenwashing, etc. So, again, this is kind of zooming in and zooming out that I think at the school we sort of cherish in terms of becoming architects but also using that to understand and act in the world in kind of new ways. So history and theory has are also very much about questioning the core questioning a kind of Eurocentric narrative. And in particular, we are this past sort of this year we are kind of engaged in this year long process around on learning whiteness looking at issues of a race and racism and this was a fantastic conference led by maybe Wilson, called race and modern architecture which actually sort of showed and is showing the entanglements of race and racism within within the history of architecture and how to how to untangle and make those relationships visible how to make these visible and kind of dissenter narratives to look at sort of Afro imaginary and you know other, not other but sort of look at history as a kind of more global architectural history as one that could really look traditionally across different contexts, cultures, times, and space. This is also a question with regards to representation and, and, and other ring as the ad will give a talk. So tonight he's been very focused on real religiosity and and kind of architectural history looking at the history of the mosque, and the reductive ways in which we have confined Islamic architecture at times and kind of undoing those reductions and drawing through thinking and through his practice or the place of gender in architectural history as with Hillary samples a woman and writing seminar or how do we look at architectural histories through the histories of environment and environmentalism all these questions are really sort of living in those sort of sequences and they come together on the studio this was a fantastic coming together a collaboration between the fuel center and the GSAP last year, looking at the Green New Deal and how we can come together to imagine a different future. And we also are very kind of proud to be supporting emerging historians through the dead left merchants lecture series for example, and then thinking about how we contribute to architectural history. Every every or rather GSAP sits above one of the most well known architectural libraries and the world every library and so this is kind of feedback loop between the knowledge that is reduced and how we can transform, you know what lives and exists in this library. The studio space is typically the space of design and research everything sort of comes together at the end of the year show it looks very clean and beautiful that is not the case always right now it looks a little bit like that a lot like that kind of experiment in the virtual and and and the kind of physical but hopefully, you know, next fall, when we might be all together again you will have a sense of the energy coming back in terms of the spaces without losing what we are learning about this sort of virtual engagement. We are experiencing now as well. And so tracing the sequence of the studios if you think about the three semesters as understanding architecture and the city, looking first at at Broadway and situating architectural interventions within Broadway understanding in the socio and economic context but also starting to develop a sort of formal and programmatic and and typological sort of intention through the work. This is the fourth floor and every, and here I'm just going to show some of the work of core one from the kind of the scale of intervention and kind of looking really at what connects underground above ground to them thinking more systematically about the city and the systems that live in it and then kind of increasingly looking at complexities of scale. And when you enter court to you, the new project is a little building is it's it's a school and for the first time last year we took an existing school in the easy village to transform it this is, and you know how it's really is saying something about where architecture is going in terms of embracing preservation and adaptive reuse as a kind of strategy for sustainable building and design and here again thinking through systems thinking through materiality and kind of inventing new ways of building models in this moment we are in. And housing, the housing studio really thinks relationally about places and questions of density and culture and has often traveled to compare you know what is living here what is living there. And, and how do we think of housing both as an active design but also as an as a kind of act that engages policy that engages the history that is often discriminatory or and create unevenness and how do we in turn sort of turn that around through engaging with. Again, the kind of history of housing, especially in New York but also inviting architects currently dealing with issues of affordable housing or public housing and other places such as touch and above in Mexico City, and sort of understanding how we can do things better in the past semester and Hilary sample who leads the housing studio may together with Mario tell you more there is a connection intense connection between the schools housing lab and the housing studio where the housing lab is taking on anti racism. As a practice in housing through housing and trying to kind of understand how we can think about housing design policy in in new ways and that conversation between the housing lab and the housing studio it's been quite exciting and then all these ideas again come to question the site context scale. Materiality assembly and students really bring all these complex ideas together to making drawing and kind of trying to propose new forms of housing for the future. The three last semesters look also I mean across all these semesters is the question of equity and the question. But, and more broadly moving out of the kind of smaller scale of the city into larger idea of environment and environmental consciousness that is also about social justice and sort of, not, not technology outside of the kind of human, the human relations. And here again, just showing some of the work of advanced force and kind of bigger scale, often outside of an urban context questioning how we think about the relationship of the urban and the rule and what that sort of division is or whether it is a division certainly now is a time that is really crucial to rethink those relationships as well. And then in the last two semesters advanced five and advanced six in studio. This is when the m mark and the ad, the three semester post professional degree come together which is led by on dress hockey, and, and sort of themes percolate ideas come together so even though there's a wide range of studios, they are more and more assembling around the set of ideas for example. This semester is around the question of justice and what does it mean to engage social justice through to architecture me here again just showing the kind of diversity of approaches. And that are always embedded in a kind of critical positioning and engagement vis-a-vis architecture in the world. It takes on many forms. And, again, sort of creating a sense of community through especially the studio but also connecting it to New York in advanced five, and then beyond that in advanced six which is the last semester. Obviously there is quite a bit of, well, there's there's travel and the moment to kind of bring all those ideas and exchanges across across places and then come together to compare. And this is the notion of transularity that Andres might have spoken to you if you were at his ad orientation so here's some images. We can travel but the hope is that this will come back in some form without the excesses of the pre COVID era, but enough to, to kind of understand and compare notes across places and think sort of the planet as a whole and how it impacts how we are architect in a certain place at a certain time, coming back to the school. These are some of the kind of reviews. And, you know, right now, if you are hopefully engaging in some of the mid reviews through through zoom. The hope nevertheless is that we will come together again, and I have to say the review is being rethought and I think this moment is incredible in terms of flattening of students and faculty. And this is certainly an exploration that we've been engaged in in terms of moving away from what the kind of review used to be and, and kind of exploring more collaborative ways to give feedback and sort of ask questions about what architecture can do for the future. And really it is about you taking a position individually collectively together, these are the your practice as an architect. And while we don't have a thesis per se. The entire trajectory is about forming your position which comes together through students portfolios for the mark and their writing. And you can see those online as well. I hope that's it. I hope I wasn't too long. I'll stop sharing and make sure we have time and here we were joined by Erica gets who coordinate court to want to make sure we have time for your question questions and allow the faculty to respond. Someone asking, how many people are enrolled in the MS advanced architectural design program. I have a day. So typically it's around 100 students. And as MS AD interact with a mark, absolutely, absolutely. And, you know, Andres can say more. But they share the two last semesters they share electives. And they really kind of quite integrated. Yeah, it's a great question because basically the program is much shorter. So what we do is make sure that the first semester is kind of an intense moment for everyone to get used to what's what are the dynamics of the school so the second semester when everyone makes the students are quite empowered to to to gain a very strong voice in the school so for me it's it's a very exciting moment the moment that both the mark and the ad is get together, because they they share the intensity and the ad brings probably people from many different environments that also bring their concerns and their capacities to be a mark mix. So it's very exciting. Okay. Hello, I'm all thank you for the thorough presentation I'm currently completing my bachelor's of architecture and was wondering what the additional benefits are pursuing the ad degree. Andres you want me to go ahead and respond. Well, I mean, the program basically is a program that goes beyond what you already know is the moment in which basically you find an ecosystem that is prepared for you to develop your own concerns. My main claim is that architecture and architectural design is a critical practice, basically by moving mobilizing material evolution or performative evolution or relational evolution, or the way that things connect and transition across scales is basically a way to do politics and make sure your criticality and the criticality your part of in the making of daily life and that's the most important thing so mostly what happens is that people that have already completed that architectural training they find the ad program the opportunity to develop not that much what we already know about architecture but new visions of architecture that engage or kind of enable them to engage directly with architecture, and that's something that then leads to careers in which they are leading new forms of design or their part of academia or they're, they're working on forms of architecture that are less known and that they that allows them to to insert new concerns and new sensitivities that's basically the way I could explain it. Okay, so before I continue asking the question if there are logistical questions. Please email Daniel smaller or Stefan but her. And so we can stay focused on on content. So if your question is unanswered today. I don't hesitate. Okay, could we hear more about the work with the global Africa lab and how students engage with the lab independently or through course work. Mabel and Mario, would you like to share some thoughts. Mario disappeared so I thought he was leaving it to me. No, thank you for that question. I'll say, you know, specifically with the lab that we've done a lot of summer workshops with students. And I would say that the work of the lab, almost always informs what Mario and I teach in advanced five and so you know those are two different ways of being involved, I think, with the lab. Other laboratories have different ways of working with them. I think Laura could certainly speak to that. So Mario, I don't know if you want to add anything. And for the last year and a half, maybe two years, the lab was involved with the African Mobilities Project, which was also an exhibition that was curated by Dr. Impomet Sipa, who is also an adjunct faculty here. And the lab participated in that in a number of ways through, of course, through the exhibition but also through a day long master class with graduate students not only in architecture but actually from across the university, and also some public programming. So there will be a number of ways in which students can also be engaged with the lab outside of studio and outside of the summer workshops. Thank you, Mabel and Mario. So very quickly, you know, could you talk more in depth about your study abroad opportunities. I think, you know, GSAP has had the Kenny Traveling Fellowship for decades now and it's part of the core of the school and this notion that, you know, there is much to be learned from the experience of travel and kind of encountering thinking and so the spring, the last semester in spring, the studios are very much based around not travel but kind of study abroad. There are summer workshops and that kind of, you know, whenever needed, there is support for that as well. Could you, me or any professor, any professor is good, speak to any projects that you're excited about outside of your work at the university. And what are the opportunities for students to work with you on them. David. Hi everyone. I was just thinking that, you know, in addition to things like the labs and you just heard about the global Africa lab and the way to become involved in that. There are some research projects that I've been involved in that have involved students working on exhibitions for, for example, for the Museum of Modern Art doing an analysis on the embodied energy and the new expansion that then becomes, you know, part of an exhibit in the museum. They also created some material for the new museum along those lines a couple years ago, and things that were on display at the Shanghai Biennale and at GreenBuild. So these are kind of related to classwork, but also outside of classwork and their opportunities like this in embodied energy and carbon footprint but also in a variety of other topics. So here's a very good question that maybe a few of you could answer. Hi, 2020 has clearly put significant pressures on assumptions and areas of public health, economics, politics and social structure. Have you adapted pedagogy to investigate and think about these shifting perceptions in light of the events and issues of this year. Are there any specific examples. Thanks. Jerome. Do you want to answer. Sure. Sure. Yeah, you know, in core one, we sort of added the layer, not that it necessarily was missing before from from many folks pedagogy, but to sort of examine kind of race as a sort of structural issue to think about in terms of design and society so. And for example, and in my studio where all the studios are kind of doing sections of Manhattan up the Broadway and we're looking at what the Washington Heights area of New York, which is sort of in the northern tip of the island, predominantly Dominican Puerto Rican community and kind of examining how to some degree that part of the city, urbanistically economically socially kind of exists outside of a kind of mainstream capitalist project and actually kind of taking that as an impetus to produce design and intervention. So we've done some reading Saidiah Hartman, and others to kind of really at the start of the studio influx, some of those critical ideas into the studio. Does anyone else want to jump in. Lola, do you want to maybe or right now. Yeah, I don't know if it's Lola. Okay, we can, we can collaborate, because we have been collaborating I mean basically that's what I was going to say that that it's these are great questions there's also a question from Emily about decolonizing the curriculum that I think is related. And, and, and you know, I think everybody here will will testify to the intensity of the conversation amongst faculty with students across the programs and so on. So on these, these issues. I can speak very quickly through the history curriculum history theory, Mabel and I and Lucia LA who you saw on the screen on the slide before teach the intro history class in the fall qh one. You know, basically the whole summer thinking through every line of the syllabus, again, which we've done before so so in some sense this isn't brand new to us. And when I say this I mean considering questions of race and 20 cent in the 19th BT space could the 19th century in in in that course so we're dealing with colonization and slavery and, and many other worldwide phenomena. We also introduce students to the longer history of climate and the transformation of environment by human activity in that in that context and so you know that the basic idea, which is kind of ongoing now is that as everybody does this work individually and in their own different subject areas is that these start to speak to one another which is what's happening. And I would say from my own experience at least through the students and it's been an amazing experience to hear back from students what they're encountering in the different curricula as we coordinate at the faculty level. And maybe I'll add a question this way Lola can, can jump in as well. I'm interested particularly in the technology and designing for the future aspect you described is an opportunity within the program to learn computer science AV VR UI etc. In combination with the required horsework and maybe Laura can jump in as well. Yeah, I think this is a great question that comes back to the integration between the visual sequence and the technology sequence and how there are joint elective courses that combine. You know, high end computational tools for performance analysis, kind of taking liability and responsibility on the design by investigating different aspects of environmental energy, carbon aspects of design solutions through computation. And for instance in the 81 we already in the first semester introduced different workflows using grasshopper and rhino to make a scaffold and analysis of building in terms of its environmental impacts. So, yeah, this is quite a rigor and important aspect of the technology sequence. How does Gisa bridge the gap between theory and practice in architectural education. Maybe Anna, Zia, Amina. I can jump in. We, we reach the gap in many ways, one of the process and probably that's related with the process of decolonization. We try to break down preset categories, and we try to be critical with them. It's cool to think about the contemporary and what you're going to find here are challenging conversations about current topics that need to be addressed through architectural scopes. And, and we blur also the limits between theory and practice because we are permanently using both in a mingle manner. We can read and design in parallel. There's no one thing that comes first and then comes out something else afterwards. We do that every time and that's why you'll find you'll find theory theoretical perspectives in all courses from the most design based ones as core to the most theoretical as Q&A. You will see a lot of perspectives I think that we all have in common that we look and we're worried about the contemporary and we push the discipline further. But you'll see that all of us we do have different scopes and perspectives that allow the conversation to be extremely challenging, not for us, not only for us professors, but also for you as a students. So we engage the community at large both professors and students as you know in this challenging conversation that it's in permanent change and and transformation through the years. What work is being done through faculty to build relationships with marginalized communities in the local area and is there opportunity for student involvement in this work. Also, does GCEP have a NOMA chapter. Yeah, we collaborate and support NOMA quite a bit and are increasing our partnership and that I maybe, Hillary, did you want to maybe address the question. Yeah, thanks them all. I hope you can hear me okay in the core three housing studio we're working looking and kind of breaking down what it was a means in the city. And so thinking through the design of a building for housing kind of questioning its density. And for sure engagement with community and do that in the past we have done two things we sort of start with a walk from the campus over to the site. And for the last 10 years we've worked in Upper Manhattan. And this year we're working in the South Bronx in the Melrose neighborhood, and working with a local group there engaged in the arts, specifically working on issues around documenting and working with local artists. And to go hand in hand with that we're working also with the city. So housing preservation and development also known as HPD is with us all semester long and so they're giving lectures on a whole range of issues from climate change to health policy related to COVID to issues around social environmental justice and race these are the main aspects. So we're getting to work both locally on a site in the South Bronx and then also engage with the city at a larger level the students also have kind of on their own, taken up to volunteer on the weekends with a local community garden. And so that's something that the studio has kind of I think inspired the students just to spend time to learn more about where they're working. So that's a really exciting development that's happened this term. What are some paths from GSAP architecture alumni have taken after graduation, apart from going directly to architectural practice, maybe Laura and Amina maybe if you want to jump in in terms of expanding modes of practice. I think some of some students who have worked with me have ended up, you know, working at the New York Times in the data in the data graphics and mapping department. Some students have done more, you know, public interest technology type of work like like designed sort of lo-fi access for public housing projects in Red Hook, for example. A lot of people who win the Percival Goodman award also go off and do more activist work. So there's one student who started an an offer profit called Young New Yorkers and does art education for formerly incarcerated people. Oh, I'm sure I'm missing so many, so many things. There's also the incubator, maybe David through the incubator. There's some other ways that students have done things. Bika Rebeck has started something called tools for show, which is a sort of a innovative technological way for museums to design their exhibits virtually. What else? There were some questions we can answer that there were some questions also about interdisciplinarity. And so I just and there were also a couple of questions further down about the Center for Special Research and we've been lucky over the last, you know, four to five years to have had external learning, which has allowed us to really incubate some interdisciplinary work across the university. So the seminars have often had cross registration with history with journalism with anthropology, etc. So the courses are really nice and interdisciplinary, and also doing a class now called public interest technology, which is also a collaboration with computer science. Really thinking about the way computer scientists think of design through design thinking which architects kind of sneeze at a lot of the times. On the other hand with with journalism sort of how to bring those, those three fields together. So at the Center over the over the last few years we've always had, we've had some TA ships, which you can apply for as your, you know, once once you've been accepted you can apply for the TA ships they're not very many there's some at the Buell Center, and then we've also done a couple of, you know, summer workshops that have ended up, you know, in architecture and allies or public facing web work as well. So each summer a number of students work with us to to do something that goes into the world in some in some form or another. Thanks Laura. Sorry, I mean I did you want to say something. No. Sure, I can chime in. I guess there's a couple of questions to kind of conflate into one response. Just thinking about the kind of revisiting of the curriculum, the idea that we've really addressed and responded to current changes in our community and our society in court one previously and previously as we've always looked at the public through the spine of Broadway along Manhattan and I think particularly this year that requires a closer zooming in of what is met by public what is public space. It's fine. It's to own a piece of the public. So that's been really a special challenge posed to the students that I think provides them a lot of skills and thinking about proximity to others boundaries. In my studio we look at Houston Street to 30th Street. So we focus on historically, what was deemed called land of the blacks during New Amsterdam under Dutch system of half slavery, where you had black African owners, having 30 farms 300 acres. And so we look at history through a section. It's really provided some out of the box like it's really imaginative responses to place displacement and just looking at using a lens of historical and then I think to bridge the gap between like academia and practice through the lens of public. In my own work with partnership with Mitch McEwen who is an alumni, our office atelier office has posed public projects and really looking at juxtaposing high and low art and the idea of pop and and what gets to be sanctioned in an institution. And I encourage you to bring in and your background from different disciplines as you approach the remark and if you already trained in an undergrad in architecture to bring that to the table as well. Thanks, I mean, I have not much time left, but maybe I wanted to, maybe Galia and Erica can jump in. In terms of the studio teaching and how can we just jump in in terms of what you've been focusing on. I just wanted to say that all together as teacher teachers and incoming students we form a community. And the amazing thing about being at Columbia is that that community changes constantly. And then the size, we don't sit around and say it's going to be X number of people, but it's, it's a number that it's a very organic number, and it's also a very international group. And so the this has been a very interesting, very difficult and very challenging but very interesting year with a lot of changes. And I'm very excited to see the new group and how the new group help us steer this very large ship that is going, it's saving very well but it can all it always fuels from new energy and from new ideas and as it has been said before, we don't respect boundaries of practice and theory, or we go beyond by boundaries of practice or theory, reading and applying math and exact and non exact things. And so I think what we are looking for, it's not necessarily the person that has been the best student all their lives, but the person that has engaged the most with the institutions that have been around them. And so I think if I can talk from my own experience as a professor here, and other places. It's always these thirds for engaging the city of New York, engaging the University of Columbia, and engaging she's up that, and the particular studios that fuels this group. There's one question here about crossovers with other schools, a program with other programs within the within GSAP, and I just want to make sure everybody understands there's tons of possibility for overlap with other programs between urban design and MS, AAD and architecture and preservation and planning all of our classes are full, especially electives are full of that kind of cross pollination which is really exciting and always fantastic when you have students from five different programs in your class. Yeah, definitely Laura and I, in general, also we have seen quite a significant increase in degrees and there's for dual degrees as well. And even if you don't, if you if you choose not to add a degree or hybridize, you're constantly aware of events and other ways to interact with both the other programs at the school as well as the I wanted to make sure Erica had a. I think you can just try to touch on a couple of questions that are asking about how climate change and community building and history and theory kind of intersect with the core. The core to we depends on the heels of poor one where you're looking at a specific place in the city core to bring that kind of focus to the scale of the building, and we're working on a site on the lower east side so we look at the history of that place in New York City and particularly to when the building was built in 1906 and the many immigrant communities that were a part of that neighborhood and that the school served and how their histories kind of came to brought to school to life. And we are working on an existing building so we embrace climate change at that kind of fundamental level which is within the fabric of what's there. So this semester's very focused on materiality and structure. And so there's a thread of thinking about life cycle analysis and embodied energy and the carbon footprint of the structure, and so we sort of embrace climate change at the at the scale of the building. And then at the community level the building sort of interestingly was abandoned 30 or 40 years ago and then occupied by various different grassroots community groups over the course of a couple of decades and there's a sort of interesting history there with a developer and many local organizations so we try to engage those things through the process of designing the building. Thanks Erica so maybe one last question and then that I that I think maybe summarizes or could summarize this fashion if we're if we're if we are approaching the course or a mark with an existing interest, is there an opportunity to focus on this within our study. And I think this is an interesting question because obviously, I'm so sorry we can't see you, but just given the breadth of the questions, you know people are really coming with a different interest and if you look at this screen. You know, everyone kind of answers in a specific way or has a kind of certain line of inquiry that is brought to the discipline and the field but at the same time. I do think that the two things one I think the school is very committed to a sense of engagement with with with again climate with equity with how data is shaping the environment with kind of engaging the world and and trying to do better or transform or understand or and and certainly this moment and it was one of the question is asking architects to mobilize in new ways and to change how we think or approach practice history or or technology and I do think that there's a commitment that is shared amongst the students and the faculty and certainly the students are really collaborators and push to say this is not good enough and I think we're very much engaged in this moment. So, so it's both personal and individual and there is enough offering and enough diversity and that you trace a way through the school and and very clearly have a sense of what you want be as an architect or what kind of architecture. You want to engage in or practice but at the same time. I think there are shared values and debates around those values as well. Anyone wants to add one. I'm sorry I have to. I have to leave. I'm so sorry we couldn't see you the way we usually can see everybody in the auditorium but if anybody has any questions feel free to email me it's easy to find emails on the on the website. Yes, and, and we'll find a way to answer the questions as well. Yeah, feel free to send any. Okay. Well, thanks everyone for coming and also to the faculty for joining really wonderful to have everybody here today. So, thank you.