All right, so as Scott mentioned, I'm going to talk a little bit about some of the research that I've had the privilege to work on over the past, I guess, seven years at this point in Selma. And then some of the burgeoning research here in Atlanta for kind of good or bad. Atlanta's a wonderful laboratory for a lot of the work that I do. And in particularly documenting underserved sites are consciously overlook sites. So I'm going to share some of that work with you today. Going through the pandemic in some ways, facilitated some of this research locally because sites were closed. So there were about 30 areas that we probably wouldn't have had access to 3D scan over the last 15 months or so that we're able to get into and capture spaces. These are for local non-profits, therefore, state agencies there for studios. A couple of you probably recognize projects. It's a, it's a wide range of things here. Sites that are in parallel. The Sparta dormitory, which is in the center on the far right, is actually a site in parallel on by the Georgia trust. And theaters that are in parallel, the Madison and the Ashby. So this was an opportunity to really get in and capture and create these digital twins that allow us to understand how the site, it is in its current condition, to be able to assess what is happening to it in the future. Hopefully how we can think about preservation, planning and reuse. And I think it underscores this idea within historic environments that things aren't static, right? Buildings aren't frozen in time and we can often have that, that situation or that feeling when we go to maybe the house museum or something of that nature. I'm interested in how we use technology to tell stories. And you'll hear me talk about the, the kind of phrase of historic interpretation. That means that it's taking directly from archival narratives, on-site documentation, whether that's archaeology or are surveying. And bringing that together to try to better and live and how we understand history, how we teach history, and how we ensure that these sites are preserved for future generations. And I would say kind of final thing that's beyond the underscoring. A lot of the work that I do is I'd love for us to get beyond this idea of a bucket list that we go to a site and we see it and kinda check it off. To me, the bucket list says that we don't really care about that site after we've taken our peace and our experience from it. But instead we should constantly be invested in these places. And that can be remotely, that doesn't have to mean that this is a habitual visit or anything like that. But I'd love for us to get over that and really think about sites as becoming markers within our own stories. And so how do we ensure that other people get that opportunity too? A lot of the work here has a lot of hands on it. So I'm very fortunate to work with incredible folks. This is just a name of a few fellow colleagues and students who I've been privileged to work with, organizations that have been really instrumental to a lot of the work ongoing here. And then also this is going to feature some of the work from the race and space class that Scott mentioned. So a lot of that research became foundational to some of the things that are continuing and added to the documentary record of the sites that I think otherwise maybe wouldn't have the attention that they deserve or at least there's there's a bit of a documentary record there. So I'm going to show a few sites just because they're in our backyards. Before I head into to Selma and sites that I know I've I feel very attached to in a very short amount of time and I'm sure there's a number of other students in this room or listening to feel the same. And if you haven't explored these neighborhoods which are right next door to us in the West side, I was encourage you to go over and do that. English Avenue being one of them. And I know that Julie is doing a great studio right now that really is representative of the school's commitment to that neighborhood and how we may ensure that the design and digital documentation may be available to them, which, which maybe hasn't happened in the past. So this was a neighborhood established in the late 1800s, predominantly white neighborhood established by John, Excuse me, James W. English. And this, this was really a project related to manufacturing in the area. English was responsible for the childhood she Brick Company. If you don't know the history of that company and it's convict labor. It's, it's a really important one to look into and I would encourage you to do it. There's a few students here who have not so subtly said that that should be a PhD dissertation for them to take on. But the school that you're looking at here is this English tutor revival school that was started in 1911. Number of additions. Again, for a predominantly white neighborhood, the demographics shifted dramatically after the Great Fire 1917 in Atlanta. And this became a predominantly black neighborhood. In 950, it's voted to become an equalization school, which was the concept of keeping separate but equal, which we all know is not the case. So the school suffered overcrowding. There was a bomb in 960. And when the school closed its doors, unfortunately, it's been sitting there vacant for a number of years. Gladys Knight is a graduate of the school. So it's this really incredible architectural gem sitting right in our backyard that hopefully will have the chance to go look at. But we'll see this in quite dire shape right now. It's been recently listed on the national register of historic places. And you're seeing student work here of the incredible drawing documentation that was submitted to the historic American building survey, a student prize called the Peterson price, where they were able to literally draw each brick and coin and detail on the building. And a few of the spaces inside that we're actually able to visit, like the auditorium. And through this digital documentation, it's allowing us to start to figure out what's going on with the building. So what you're seeing here is essentially like a pushback section through a digital scan that is showing you the amount of bricks out of plane. So if we imagine a plane kind of shifting back through. When this building was originally surveyed for the National Register and 2017, there were causes of concern for a one and a quarter inch deflection. Right now we're looking at a six inch deflection for parts of the building. And unfortunately with the heavy rains, we've had this summer substantial parts of the roof collapse. So this is this is a structure to kinda keep your eye on and see what's happening. And I would encourage you as students here at Georgia Tech, the English Avenue neighborhood is in your backyard. If you have the opportunity to get involved, listen in on the planning meetings here, what's going on? Saving a site like this is really quite an important one to the identity of the neighborhood. And I think it's just this architectural gem that we have. Unfortunately wasting away. To block South is a little bit more of a different story. So this is a site that thankfully is going under a bit of a revival. Students know this from the race and space class. There was a great team of four who documented the site and put together part of a report and historic American buildings survey quality drawings that went into landmark designation, which is here in Atlanta. If this goes through, which we're very optimistic about, this will mean it's the first ruin in Atlanta to get landmark designation. So that basically means that the structure is preserved. Other things can happen inside. So this is again, this idea that the site isn't frozen. It's not just locked into time. This isn't going to become another church. The owner who was absolutely spectacular pastor Winston Taylor, once to actually bring a library to this area and kind of redefine what is the library in the 21st century. And students this summer and the senior studio undertook a series of studies. A number sitting over there, and they don't look to paint. So hopefully it was an enjoyable process. But they got to know the building really well. They got to know pastor Winston. And, and I think to start to understand this site as a really core anchor for the English Avenue neighborhood. And what at 1 in time, this area, it's kind of right along here. If we can see my laser pointer, not 20, but that was a streetcar lines. So this was a really vibrant part of the city. And this drone footage is actually a little bit out-of-date, even just a couple weeks old. Because thankfully, the botanical gardens on the west side are really taking off around the building. So if you have the chance to go by St. Mark and check it out, you're going to see that it's a really thriving pollinator garden right now. And Pastor Winston does not move slowly. So things are happening very quickly at the site, which is really exciting to see. And hopefully you will see that landmark designation pass quite soon as well. And there's opportunity for development south of the site. There's a lot of things that are going on there and I know Julie studios looking at that corridor as well as a key one part of the kind of history of the neighborhood. The building itself is made out of stone, Mountain granite, which again ties into that great fire in Atlanta and basically the city wanting fireproof materials. So they turned to stone Mountain granite for a number of structures in the city. This is one of only three churches that has this in the entire city. So it's quarried, kind of rough cut and brought to the site. And then. Put in place with a little bit of a jigsaw puzzle. So it's not it's rough masonry, it's not Ashlar. And so it's really interesting pattern, a really unique pattern and one that definitely needs to be kinda studied and preserved for us to better understand the site. This one is going to go under some stabilization projects in the future to make sure that that parapet is nice and watertight so water doesn't get in to any of that bearing masonry. And having these kind of digital documentation pieces is really instrumental in allowing us to take a snapshot of what's going on now, being able to come back and see how things have changed over time. So this is a little bit of a preview of sort of things that are happening in Atlanta. And I'm going to bookend this with Atlanta. But we'll, we'll take a trip to the West. Briefly. How many people have been to Selma? Has anyone been to solo? Just a handful. Okay. So we'll take a virtual visit. But I definitely would encourage you whenever you can to take a trip there. I would say as an architectural historian, it has one of the best main streets I've seen in a southern town. In terms of the scale of the structures. You'll also see it's a city dotted with church spires like, like many other southern cities, but absolutely enormous, really distinctive churches and incredible synagogue. This, this really complex relationship to the Alabama River, which is causing some subsistence issues right now with that steep slope. And then obviously all of somas ties to the civil rights. So this is the Edmund Pettus Bridge, which we'll talk a little bit more in depth. And how this is really inextricably connected to Bloody Sunday and the civil rights movement. But this is a site that even though it might look in fairly good shape right here in terms of the bridge, it was deemed functionally obsolete in 2011, which is a bit wild to think that's a decade ago. Now, what that means is that the Department of Transportation is getting ready to decommission the bridge. What happens next is unclear. If they're going to tear it down, build another bridge, which is hopefully not the case. What we are hoping they will do is actually pedestrian eyes the bridge. Because right now if you do want to take that kind of momentous walk across Edmund Pettus, it's pretty precarious because it's an act of highway, it's part of Route 80. Um, but there are some other things that are kind of unique right now because it was deemed functionally obsolete for like a GPS route. If you were to root for basically here to say Birmingham, Birmingham we take Street West over. But from a few sites, if we're going from Montgomery up to Birmingham, it will automatically route us around Selma. So it would not take us over the bridge. So that's basically a code that's been sent into the system to maintain fewer cars and certainly trucks on this bridge. So with that idea of what exactly is going to happen to this, it became a place that was quite important to study. And I will say this project was definitely a bit of serendipity. And a former appointment teaching at Auburn University. I was doing work but Rural Studio and New Bern. And so to get from Auburn to Newburgh, you drive through Selma. And we noticed insignificant decline over just a series of visits. And so a colleague and I, gene San Lu, really started to say, Well, what documentation is out here for this area? What could we maybe do to add to the record? Because we're literally seeing things from this site slip away before our eyes. And that's really where the project started. It was it was a question and starting to see that there there wasn't that documentation out there in terms of the physical site. But there is this other great set of documents that exist for Sama which help us really enliven the story. There are things like the Sanborn Fire insurance maps, which I think if you're an architect and you're not slightly obsessed with Sanborn, I don't know if you get your architecture seal. But there are these amazing maps that just allow us to understand kinda place and how it evolved over time. They're incredibly detailed. And thankfully there's a good set for Salma. So basically this was the city's insurance to sort of track where buildings were, how things were evolving over time. And I'll say this, these models look like fairly simple popups, but this is putting together about 40 independent, smaller maps. So this is a really kind of big exercise and patients and had some really spectacular graduate students here at Georgia Tech who have graduated and working on this. And so you can see just in a fairly short period of time, how much Selma evolved in the late 1800s and early 9800. And this was a pretty significant change because Soma was a city that was very much tied to enslaved labor. In the antebellum period. It was the second largest armory. And because we're gun manufacturer in the South, second only to trigger enrichment. So that meant that it was a main target for the Union forces. And it was a site that because of the Alabama River, was also directly tied to cotton. So that meant that from the plantations, the cotton was coming into Selma and then going on the river down to Mobile Bay. So this was called the Queen City of the Black Belt, is extremely wealthy city, privilege city obviously for those who are, are white and very much a segregated city. And that, that legacy remained, as we'll see into the 20th century and unfortunately bit until the 21st. So in addition to Sanborn, there's also a few other people who took interest in Soma and leave us these really great records. Walker Evans being one of them. So amazing photographer documented the South. And this was part of an independent project. He was in the South for a couple different reasons, commissioned by the the agricultural authority and traveled to New Orleans as well. Did work for the farmer administration. But this was, this is Walker Evans just kinda being captivated by Salma. And so he was able to go through the city and take a number of photos that we can then map with existing structures there, but you'll see part of it has now been lost to the west side of the building. This is right along one of the main streets. Water Street parallels the river. And I should have another photo, because as of last weekend, This porch is no longer on the building. So unfortunately, that incredible cast iron structure came down. The building is still there and hopefully will be there annex visits as well. So within the context of Selma, looking at the source civil rights movement, there's a couple of key places to take a look at. The one over here is the George Washington Carver housing, which Brown Chapel is nested within there. We have this artery, which is Broad Street, which goes down all the way to the bridge and then further south. And on the northern end is anchored by a hospital that I'm going to talk a little bit about. But soma, if we think about it, a lot of the attention goes directly on the bridge. And I would say that it's really important for us to contextualize all the, the sites that are tied into the series of events in predominantly 960 five. So we get the context of the bridge just, just for understanding. So basically nearly a century after the Civil War, they need to replace the old railroad bridge and put in this new steel truss bridge. And so this is approved and it's Kristen's in 940. And and it shows that that Salma, at least from a kind of administrative standpoint, hadn't made too much progress from the Civil War because of the name. So this is Christen by Mrs. Frank Pettis, who's daughter-in-law to general pedis. And the raised bronze letters, which you can still see. So that's as they're putting them on. Our tied to Brigadier General Edmund Pettus, who was within the Confederate Army, later became a grand dragon of the Alabama Clan, and also served as an Alabama State Senator until his passing. So so for almost 20 years. So this is the name that is emblazoned on the bridge in 940. And as we've gone through and collected some of the original, these are literal blueprints. So we have those, that word gets used a lot. But this is a literal blueprint. But this was sitting in an uncondition shed rolled up outside of Selma. So thankfully, we were given access by Alabama Department transportation or able to digitize about 300 drawings that I don't think had been looked at since 940. But this shows that the bridge, it's original design. It was made by Selma born engineer. And if you notice in the bottom right-hand side, it talks about the Alabama River Bridge at Salma Dallas County. We've only seen one drawing that actually calls it the Edmund Pettus Bridge or has the name on it. The location of the letters, which is up in this top corner here. And this is a painting drawing from 1984, but we think it's a reprint of an original drawing from the 940 set. So it's unclear, you know, where where this name actually came from, who approved it. We've been unable to find where the legislator, legislature formally approved it. It seems like it's essentially that the governor at the time exercising his powers to dedicate the bridge and honor of, of Edmund Pettus. And I think what's important to note here as we talk about stories and this idea of historic interpretation. What are we, what stories are we sharing? What things maybe are we leaving out consciously or unconsciously? Neither the National Register of Historic Places nomination for water Avenue, which this contributes to, or the national landmark Historic Landmark nomination, which is the highest nomination you can have in the US. Make mention of the bridges name or who Pettus was. And I don't think this is a coincidence for the name or coincidence of its emission. So trying to tell that story a little bit more sequentially, we've been fortunate to have a grant from the National Park Service American Civil Rights Program. And we're doing a historic structures report on the bridge, which is a really in-depth study and digital archive and also digital documentation of the bridge. And that's underway right now, hopefully wrapping up early next year. So if we tell the story of Salma, as I said, a lot of people focus on the bridge, but we have to really extend that boundary, um, and even extend it beyond the map here, which is what's considered kind of a conflict area. And so all this, although the Bloody Sunday, which was Sunday, March 7th, 1965, was a really tragic day in American history. It's a one, it's one that certainly change the tide for the Voting Rights Act. And what people were doing in their homes at that point in time as they were actually watching the trial of Nurnberg that was being streamed. At the, at the moment, it was interrupted, the broadcaster interrupted with live views of what was happening in Selma. So it was, it was a very jarring moment and I think really galvanized some support. Otherwise might not have happened outside of the South and frankly outside of or within white homes. So they're also marching. Talk about names. This is called Route 80. Now it was called Jefferson Davis highway. So it's just these sort of layers that are within each of these sites. So what was happening is there was an organization between the Student Nonviolent Nonviolent Coordinating Committee and the Southern Leadership Conference to come together in Selma to meet a March from Selma, which was having a kind of a strong movement to mobilize voting rights. And then head to the capital and Moby in Montgomery. As they start to walk from Brown's chapel across Alabama Avenue down Broad Street, and then eventually up to the bridge. And you can see this crest of the bridge is actually really quite important. They see that there's a line of Alabama state troopers. And that line is happening in a very specific place. That's actually where we can see we're past the Soma city limits. So they're technically within Dallas County. So anyone who was from Selma will be very quick to point out to you that Bloody Sunday did not happen in Selma. It did not happen on the bridge and it happened South where there was a different jurisdiction. So We're thankful to have this really incredible record of documentation from the event. There were the real-life cameras down there. There were a number of photographers, Spider Martin being one of them, who was at the event. And sort of I think originator of like the silver right selfie of, of Brown's chapel right here. But he was at the mobilizing site. So as I said, within sort of public housing up in that top right corner of the mat. And was able to gather with some of the marchers there. The selfies happening a few days later, and I'll tell you the context of that. But people originally gathered at Brown Chapel, assembled to the march. And after the violence erupted, they were retreating back to Brown Chapel. And over the course of nearly a month, that area was essentially quarantined by the city government. So those residents were, were really kind of forced to stay within the area in their hopes that this would maintain what they said were were peaceful demonstrations. So this is a multi-site study. So it's us taking a look at Brown's chapel and what's happening there using aerial photogrammetry like you're seeing on the top right. I'm using the archival photographs kind of doing these these mapping elements. So you're seeing June Chen on the bottom left kind of holding up in and us figuring out things that to other people might be really inconsequential. That telephone pole was there, didn't 165. So we end up mapping of a few of these really quotidian items that allow us to track what was where in certain areas of the city. And Brown's chapel is going under a multi-million dollar restoration right now and within the interior. So this is kind of fresh off the books. I think you guys are the only ones outside of the architects and the contractors who've actually seen the image on the right. That just gives you a preview of things being covered within as this this restoration is happening and within that process. And this is a point clouds, this isn't a photograph, this is actually a digital documentation, so this is a totally measurable image within a digital model. But what's been pretty fascinating is the architect to cousins has found that the lintels in Brown's chapel, which is from 1908, looked like they might have been from an antebellum home. So the wooden lintels. So it's really fascinating that, that something from an antebellum home is re-used in this iconic church, which was a A critical role in the civil rights movement. We need to do some dendrochronology to figure out if that's actually correct. But based on the kind of a timbre, it's, it's really unusual that this would show up in a site like this. So it seems to make sense that might there might have been something in the area that was repurposed. We know there's repurpose bricks in this building. So Brown's chapel is the starting point. The bridge is where some of the action of Bloody Sunday happens. And sort of the perception of the main space. As you can tell from this, what did you know? It is still a busy highway. There's not a clear divide between the sidewalk and the road, so it actually does feel pretty precarious to walk across on a busy day. And then the Alabama River is below. So this in itself kind of presents some interesting documentation challenges as we talk about using lidar or, or drones. Bridges need to move, right? So that's, that's great for their own ductility. But it's not great for digital technologies that need to map static points. And it's also kind of difficult to get into certain areas to document the bridge. But we have found from our studies, number 1, the builders didn't build it to the specifications of the drawings. Which in a few places is a little scary because we found steel and in a perpendicular direction to where it should have been. But it's a really unique bridge in itself. And the bridge engineer said that it was, there was no Gingerbread involved. So essentially a purely structural bridge. But some of our perceptions of the bridge and its role within Bloody Sunday within the voting rights movement are tied to popular culture. So absolutely incredible film Salma from number years ago gives us a portrayal of what's happening. So in part, this is framed nicely for the shot, but they wouldn't actually have crossed the street that way. So some of those movements of people are becoming really important to us as we're trying to frame the story for the National Park Service. Who's there, who are giving tours and who are sharing with people what exactly happens. So sort of geospatial history is really important in our study. Following Bloody Sunday, what you're going to see some images from in a second with Turnaround Tuesday, just two days later, where Martin Luther King Junior was present. They didn't kneel on the bridge that happened further south. So again, this kind of reinforcing some of the myths maybe about the bridge and its role. Not to say that it takes away from that site, but I think the site is much more nuanced and complicated than, than what's been presented before. Some of these images following are quite intense. So just as a brief warning. So this is from Bloody Sunday. This is an unnamed photographer, an AP photograph. There were photographers. Can see one on the far right here that we're down here that knew this this movement was mobilizing. The Alabama Department of Public Safety actually had handheld Kodak's as well. A number of those images have been destroyed or a missing. There's a number of news crews that are here, so there's, there's a whole array of documentation. And so what we've done to approach this and try to better understand the place and what happened is through a methodology called conflict archaeology, which is typically applied to like a civil war site or maybe a World War II battlefield. But here it's within sort of a struggle for civil rights. So as they march pass the bridge, you can see we can't, we can't really see the bridge in this image, right? It's, it's back farther, significantly south of the bridge. John Lewis in the front there. Jose Williams next to him. Stop at this point. And this manhole cover still exists. So these little details for us become really consequential. We've been able to map kind of what things were there certain times during the event and start to put together essentially this timestamp of what is happening on the site. And I would say for most people, if you drive through Sama, there might be a moment of pause or kind of reverence on the bridge. And then when someone would actually pass the true conflict site, There's nothing to mark what's there or to signify that this is actually the place where the action happened. So, so I would say that's almost like if we were to certain battlefield in and we're standing in the wrong place, right? So that, that place matters. So as troopers approach, ask the marchers to dispel, they don't move. They then attack. And what we've actually discovered through mapping the cars from the photographs and going through a number of different angles and trying to put things together is that the cars were actually staged in a way that kept people from going to certain areas of the site or, or maybe escaping certain sites. So it was essentially choreographed of where people could be and where the public was, and also where those news cameras were setup. So there's this background choreography that we're discovering, which is, is adding to maybe the complexity of this event and our understanding of it. As we look at some of these structures, a lot of them still exist. So that Hastings make mattress and awning company actually still exists. It's Sammy's paint, an auto body. Now, there's a number of other structures that are still there. And so since there isn't a protected right away, it's private ownership. We're we're trying to collect information because there's nothing at this point that doesn't prevent some of those sites from disappearing really at anytime. And you're going to see an example of that in a little bit. So this shows kind of the choreography of the event as, as marchers are driven back and attacked. And you will actually never see within an AP photograph a, a, a baton hitting a martyr. And I don't think that's coincidental either. But there was tear gas that was deployed. And then troopers who are on horses are actually driving the marchers back across the bridge to Selma. So as this is kind of all as a bit of a war zone that is unfolding. Where there's tear gas canisters are. The new stations were set up to the right. So their view of what was happening was actually completely blocked by the the tear gas itself. And the area to the right, which I'll show you in a little bit, is still preserved as well. There's elements of the site have changed significantly. So this is the gantry that was over the highway for a period of time. The anchor bolts still exists that we've been able to map and locate. And there's a rumor that this lives in some warehouse in Selma. We have yet to uncover that. But maybe one day we'll be able to show you some images of the gantry. And this shows you again, we talked about sort of the mythology of the place. This is where they came for Turnaround Tuesday. So they made it past the bridge, pass the line of conflict all the way to this area before going back into Sahlman and deciding that that was not the day to continue the march. So this documentation is done with a lot of archival photographs with 3D scanners. Thankfully, we've abandoned this large guy which is really difficult to work with and who are working with a smaller Pharaoh version. Now, it's a lot of construction technology that's being implemented in terms of of geo referencing, being able to tie into the Alabama State coordinate system and what seen as a sort of a an area of significance just around the bridge now needs to extend nearly a mile to the south. And so that's been a large project for us to map and document. And this working point cloud is over 86 billion points. So we're getting to the point where actually we're kinda outpacing our computers to be able to process the data. But all of these digital documents of the bridge of the conflict sites. The hope is that it's preserving it in case something would happen to the site in the future. Whether by kind of incidents or, or consequential. And allows us to really understand the context of the place. And even the details of the construction itself right down to the railings which were made and in Pennsylvania. So in terms of the mythology of the Bridget's perpetuating, this got reinforced again two summers ago with John Lewis is passing in the case on actually paused at the apex of the bridge. And I will say that apex is significant because it is so high over the Alabama River that crest is so significant. It was actually really difficult for the marchers to see what what was ahead and what was going to meet them further South and Dallas County. But I would say that it's part of this idea of trying to get people to understand a larger story of where things happened and what's going on there. There's been some revived discussions following Lewis is passing about renaming the bridge. So this has been an active dialogue for quite a long time. And we talked a little bit earlier about why that name is problematic. Lewis was against changing the name. So the name was significant to the movement and it represented with an attitude of place at the time. And that the bridge was then no longer synonymous with that person. In, people could actually probably tell you who Pettus was. But it was related to the marchers into what was called the foot soldiers of the movement. So Louis opposed a name changing. So did the local congressional representative until fairly recently. And she's part of a movement that is now looking to potentially change the name. And I would challenge everyone as you see sort of these endeavors to maybe change a name for something. And especially if they're collecting money to do it, be very careful about where that money goes. It's not actually going towards the preservation of the bridge or the site, or towards the interpretation that's happening by locals or the National Park Service. It's going to a lobby. And be very careful about looking at what the community actually wants. So there's a number of community organizations tight in here. Descendants of the foot soldiers of you who are still living as well, who actually are not. For the changing of the name. From an archive standpoint or sort of an archaeological standpoint point. I would argue that if we actually remove the letters on that bridge, which are part of the original artifact, we have. We've actually marred the original artifact. And that adds to a whole other set of questions related to sort of the significance of the structure and any interventions related to it. We'd want to paint over the letters, make them all that cool gray. I mean, that seems to make sense. And I'll get rid of the prominence of the name. But there's all these kind of cause and effects. And a name change is not as easy as maybe it's perceived. I would also argue that if we're worried about changing a name or spending money on changing the name and not actually saving the place than our intentions aren't, are not really well-suited to the area. So as I said, a lot of this documentation is tying together and essentially doing almost like reverse photogrammetry. Trying to find points in space from things that we know are static and probably haven't changed over time. So like headers on brick, lintels, things like that. And trying to put back features that are no longer within the historic landscape, trying to document these structures as they would've looked, and trying to think through what things may have looked like. So right now if you go through somebody, you'll see it's this kind of ad hoc mural, which unfortunately is not in great shape right now. But that was part of Lehman Brothers historic Jewish company that was in the area and directly adjacent to Lehman Brothers on Bloody Sunday was essentially the triage area for injured marchers. Pay attention to just south of here. So so this is what we have and we're going to see if these QR codes work. So if you want to take a virtual tour, we tested it. In theory, it should work. But it will allow you to, to virtually take a walk on a small part of the site. And this is a technology called matter port, which is typically used for houses. So like if you're searching and apartments, you might see a matter port model. So this is an atypical application and it doesn't always work well with an exterior sites, but we're able to map a little bit of it to give you a little bit more of an experiential view, the place. And from this area you can kinda see where Lehman Brothers was located, which was over here. You can see across the street where that Sammy's paint an auto body was was the mattress company. And there's a few structures that again, may seem really quotidian and just like abandoned aspects of a highway that people would breeze by. But actually really significant. So the skeletal sign, watch belong to a place called the chicken treat. And this shows up within historic photos. So that sign is a historic artifact within the landscape. And one that we're trying to get the owner of the site to invest in saving. If he invested in saving it, the kind of secondary and maybe less desirable, certainly less desirable is that it might get moved to one of the interpretive centers. And so at least the form would get preserved if it's not preserved in Situ. So through the digital documentation, those point clouds were able to distill that into 3D models so that skeletal sign can then really help us understand what's there and what we might need to do to secure the structure and perhaps bring it back to that 1965 view so that somebody could actually better understand the physical landscape of what was there. Part of the documentation, as I said, has been to kind of secure what's there in a moment. And obviously things change over time. And for unfortunate reasons. So Lehman Brothers is right here. And if you do a comparison between the two images, anybody notice a difference? What's just south of that that historic car dealership. And this showed up this summer. It's the go-kart. Yeah. So these guys have heard it says the go-kart track, unfortunately. And this is not a joke, it's called Freedom Riders. And so this means that it has actually disrupted potentially archaeological elements that were, were there from that area being part of the tree, our site. And it just shows, I think the precarity of this area of how things can change and be disrupted. And, and in some ways be, be really quite disrespectful to the memory of what happened there. So that would be a site that now this new intervention has come into play. If this is ideally preserved as a cultural landscape and it gets extended as part of a cultural corridor, that construction would need to be undone. So. Tie in all of the kind of money and disruption attached to that. And just shows how a lot of these sites are really kinda sensitive to to development. That's the same for further north. So if you remember on the map, that artery of Broad Street that went stretch south of the bridge, went to the conflict site. So after Bloody Sunday, marchers were triaged right next to that. Unfortunately are the go-kart track is right now. And then take into the segregated hospital, which is what you're seeing here, which is known as Good Samaritan Hospital. And unfortunately Good Samaritan is also in poor shape. It's a 940 for building that has been abandoned since 1983. So we've done some digital documentation for that structure. Because again, it's one that every time we come to Selma, we're not quite sure what we're going to find. And then there are these sites kind of adjacent to that culture court or if Salma that also play a role within the story. So what you're looking at here is the Elena and railroad depot or the former Ellen and railroad depot? The railroad would have been behind the building. And this is now known as the old Depot museum or in the Dallas County archives. So it's a late 18 nineties building. And it's one of the few from this company that still survives, the Louisville and Nashville. It didn't get us over to Atlanta, but it got us to Rome. So I guess that was our closest truck from Selma to Atlanta. And thankfully, we're able to find historic plans of the building which show it was a segregated structure, which was unfortunately not uncommon in the South. Everything from the general waiting room, which essentially is the men's waiting room, a separate ladies waiting room, and then completely separated with a wall. Was what's labeled here as the ***** waiting room or Colored Waiting Room, as it was written in signs. And you'll see that for those who were relegated to that space, tickets had to be purchased from an exterior ticket window. So back here, instead of actually being able to go into the building itself, it also means at the lunch counter service was through an exterior window too. So this structure has been in continual use since it was opened as a railroad depot. And over time it served a number of different functions. It was the cities forensic office for a period of time and can vouch that it smelled like formaldehyde. While a really pioneering Curator came in and took out all of the drop ceilings and thankfully revealed this incredible layered structure that's behind it. And now it's this really amazing cabinet of curiosities of Selma history that range everything from indigenous populations to current structures, current history. So this is a building that we've done a full digital documentation project of. In order to have some preservation planning in place, they need some HVAC works and security and other things. So it's been a nice project for that to be underway on. Thankfully, a lot of this, this work actually really beneficial to the groups as they go for future grants because they already have this documentation in hand. And it's a one step that's finished and the process. And at this point, the old Depot museum might be the best documented building and all the soma. So we have these full 3D scans of the space. And as I said, it's a little bit of this kind of cabinet of curiosities. But the rooms are preserved. And what's happened that I think makes a really interesting tension within the structure is the civil war room, which you can see has a Confederate flag, at least. This was an older scan that phi is actually now no longer in the museum, is now next to the civil rights room. So in the plan, what was originally completely sealed wall between the lunch room for the lunch room is now the civil war room. And what was that segregated waiting room is now actually the Civil Rights room. And so that space, that wall has literally and figuratively been broken down within the museum and allowed people to, to see some of the really interesting collections that were previously not on display actually that we're in an attic until just a few years ago. So part of the documentation from 3D scanning went to the plans and basically this haves level documentation. So literally drawing every little bit of the building. And this is one where the collections and the building itself are really hard to divorce. So it's a very complex drawing set. And if you want to take a tour of the building, did that work before to the QR work. Okay. Okay. So if you want to take a tour of the building, you can use this and this is on the Selma museum websites. So if you go to Selma museun.org, this will pull up the virtual tour of old Depot, which we had really positive feedback from during the pandemic because it allowed people to explore virtually. And we heard from a number of teachers who actually used the structure. In their curriculum and being able to take this, this kind of field trip there virtually. But within the collection, something that you might not expect to find in this fairly small museum in Soma. Is this, which might seem like a really significant book. It's only maybe four inches wide by 14 inches tall. And this is actually the hospital log book that details both the death of Jimmy Lee Jackson in Marion. Because this, as I said, this was a segregated hospital, so surrounding areas have to, have to bring patients here. So Jimmy Lee Jackson, and this is depicted in Selma for anybody who's seen the film is shot following a peaceful March. And he is basically left within a cell to have that that wound kinda accelerate. And when he is brought to the hospital, he's essentially pronounced dead number of days later. So his, his passing is within this log book. So this is really what kicks off the Selma movement and the mobilization. And talks about the time He's arriving and his treatment. And if you go to the National Park Service, Story Maps, it'll sort of talk through the death of Jimmy Lee Jackson and how at age 26 this really catalyzed part of the movement and shifted attention toward soma. Within that book is also the documentation of John Lewis's skull fracture and concussion that was related to Bloody Sunday. His ER treatment was $3. We have patients here that were as young as 10 years old from the March. And one of the big movements that a number of my colleagues are working on right now. Primarily within our burns History Department, is actually naming every single martyr. To our knowledge, there is not a full list of every single martyr. And so they're going through all of the photographic documentation we have and, and kinda using social media harvesting to say, do you know this person? Can you, can you hoped name us. It went live last weekend. This this big kind of history harvest. And they've already named a number of people. So it's a pretty exciting results so far, especially during the pandemic when we'd otherwise plan to have some in-person events. We're kind of using social media to try to help fill in those gaps. The book also logs Amelia Boynton, who is the woman that you might recognize a number, the photographs wearing the long khaki colored coat, and who suffered a concussion was supposedly from oral history records. Other marchers said to troopers when they passed that she had passed away. And that's why she was left at the site. And they were able to actually get her to the side by by the Lehman Brothers to eventually get an ambulance up two Good Samaritan Hospital. She's a really fascinating figure. She was born in 1921 or excuse me, born in 190111, if I can get my dates right. And then by the time she was 10 and 920 one. So basically when women get the right to vote, she goes with her mother to pass out flyers for registration. When she eventually moves to Selma and less than 1% black population is registered to vote. She is one of those voters. So she is instrumental in the voting rights movement in Salma to eventually run for office. And was really quite consequential to what would happen should be there in Johnson's office when the Voting Rights Act to sign into law as well. And you'll recognize her in the blue from the historic crossing. And you'll see here in this image back and Brown's chapel. So this is the day of Bloody Sunday as they're mobilizing. So born in Savannah and she's a graduate of Tuskegee. She lived the majority for life in Selma. In this residents, which you can take a brief tour of. So it's on the corner here. It's a 116 craftsmen on laps Lee and Anderson. It was part of a WPA initiative to basically get architects back to work. And per family would, would move into the house. And the early 19 forties. A number of people would stay in this house during their time in Salma. Martin Luther King Junior included within that. And as you can tell, it's unfortunately not in great shape right now. A private foundation owns it. And we're doing some digital documentation with them too. It's a severe stabilization, emergency stabilization that needs to come into play in the structure. But thankfully, there are these kind of record documents that allow us to go back and start to see what that structure would have looked like. And this is Boynton in her home when she was getting ready to run run for office. So that year when she ran for office, she became the first black woman in America as an Alabama's history to seek a congressional seat. And the first woman of any race to run on the Democratic ticket in the state. She didn't win unfortunately, but it went on to show the mobilization that was in progress. So farther afield outside of Selma, there are other sites that, that worked were taking on. So you can see this. What seemingly starts with a bridge suddenly has a whole lot of other places attached to it. So further south as finally, the March was successful, starting on March 21st, 1965, there's a series of three campsites where marchers stayed on their route to Montgomery. The first of which is David holes form, who was black farmer in the area. And his farm was just listed this year as one of the top 11 places in parallel in the United States. So that basically means there's a real emergency initiative to get out there and preserve the site. And the house. You can't quite see it's actually behind the trees from this survey. But it's part of a, a rural area south of Selma. We've got these great aerial photographs from helicopters of the National Guard. And what we're going to try to do is actually figure out where exactly this barn was on the site and map that virtually the families looking into some interpretive structures that might come onto the site to actually use this within a kind of educational mission and to figure out what was there. And then what we're also hoping is that there'd be an archaeological dig that will happen out here in the not-too-distant future. And it is not too far outside of the up, the possibility that they're going to find buttons and all kinds of other small things that dropped out of people's pockets because it wasn't disturbed too much over time. This wasn't a tilde part of the land where the campsites where. So that was kind of a quick breeze through a lot of the sites in Selma and the things that are going on, the data that's being collected. Unfortunately, why these sites, as you're seeing, are not in great shape. But the digital documentation is the first step in trying to figure out what can be done to save them and preserve them for future generations. And to hopefully get the information disseminated to other people. So it'll maybe mobilize and effort beyond just the immediate community, which, which has quite, quite a number of stressors on its own resources. So what, what can come next? So the soma project is, is a, a multi-year project. We're really trying to ramp up for 2025, which will be the 60th anniversary of the Voting Rights Act. So getting information out as much as possible for that date. There's a summer school that's going to happen next year that's going to be funded by the NEH, which is pretty exciting. We have a couple other grants that are under review right now that we hope would would allow us to bring more people into the work and to get the word out more. And then just locally, this is a shameless pitch for next semester to join the race and space class. That kicked off a lot of the, the documentation work here in Atlanta. And I think we have some really incredible roots and connections. And in places that need attention and thankfully, an amazing group of students that have the skills to, to lend to those efforts. And as a school, We've been really fortunate to be able to get a couple grants that are going to allow this work to expand. So this multi-year contract with the National Park Service, which right now is sort of on the database end of things, but we'll be moving towards or digital documentation initiatives with the National Park Service. They are essentially interested in all of this technology. They just don't really have the capabilities to do it. So that's where universities factor in and where we hopefully can, can be a really great partner. And then this new program with the National Center for Preservation Training and technology. That's going to take a deeper dive into the English Avenue School and Pascals, which, which I haven't mentioned. But we've got some things on the on the table and I'm hoping that we're going to be able to turn Georgia Tech really into this preservation technology leader, particularly for the South and for the sites that, that otherwise aren't getting the attention that they deserve. So very much. Welcome your questions. I thank you for your time. And and and hope it was a little bit of a virtual tour. So No questions. Yeah, it's. It seems like it's quelled a little bit. It was it was really pretty intense, I would say last summer. But there's been a few movements. There's a few new non-profits in Selma that are looking to. They're also part of this initiative to identify foot soldiers and to preserve the site. So in some ways, I think the attentions had been, had been turned to that initiative. There was one pitch to change the name in particular, that they must have spent a lot of money on Facebook and Instagram to promote themselves. And it was entirely a lobbying effort from an outsider. And so again, just shows, you know, unfortunately for a lot of these things, you have to really do a little bit of homework. And again, and it might seem like it's a really good initiative, but it's not, it's not maybe going to the right places. So I think there's a really good group in Salma that's working. The Alabama Department of Tourism is also invested a bit. And then from a regulatory standpoint, doing anything that would disrupt the physical structure, they would have to go through all kinds of National Park Service permissions because it is National Historic Landmark, which would be extremely difficult. And if they would do that, it would borrow them from certain federal funding if they went forward with it. And so in my opinion, that's not a smart decision to get rid of that. But I think there are those sort of smaller interventions like painting over it that wouldn't disrupt the structure, but would, would maybe take that prominence away from it. I think Louis, his statement that the bridge is not associated primarily with that person is a really important one. But that also means we still need to tell the story of who Pettus was in. And the fact that that name happened, you know, 80 years after the Civil War. Something keep your eye on. But yeah. For now. Yeah. Hi. 00 00 00. 00 00. Sure. It's a it's a huge question. I think a big one is that nothing in the built environment is inconsequential. And there's been a predominant focus on sort of capital a Architecture in the past. And they're certainly the importance of the monumental and of the iconic. But also, I think this focus on the quotidian and the stories that are associated with that are really important. And that those are spaces also of daily life and interaction and memory. Few people have the opportunity to live directly next door to Notre Dam, but a number of people might live nearby. These sites that have these buried or uncovered are not yet uncovered. Histories. And so I would hope it would make students be curious about some of those sites that are not sort of the monumental sites. And to really be curious, be a tourist in your own backyard. And be curious about what's going on in your local area. Because I think a lot of this, like I mentioned with Salma, you, that was very much a bit of a serendipity project. If somewhere we're passing through and just kind of noticed what was going on and kicked off a whole series of really incredible meetings and people that I've been fortunate to work with. And places that are It's hard work, it's frustrating work. I would say the students from the summer who did some things sort of saw that. But it's important to think persevere, but to always let the, the community be the leader. So, so I hope that my role is one that I can provide resources and I can provide tools and maybe some different methods. But I hopefully provide questions. I'm certainly not there to provide answers. So yeah. Thank you. Yeah. I think they definitely are. And I think they're they're being there, opening themselves up to those, those atypical structures. I mean, the beginnings of halves. When we look at it, we're tied into documenting vernacular structures and tenant farming houses of the 130s. When architects, engineers didn't have work. These, those are the sites to document. It wasn't necessarily state capitals or, or mansions. So I think there's always been this interest in, in the vernacular or maybe the, the previously overlooked. So we had two sets of students, student groups put in, have drawing submissions and I think they, they saw the the rigor that is attached to that for good or bad? I would say that this is something we're working with the Office with the National Park Service. They quite they don't quite know how to deal with digital documents yet. So they are still very much reliant on analog surveys. And the methods of analog surveys, which, which obviously we double-check with digital documentation. But think there's a little bit of catch up that still needs to happen. And that's where like the National Center for Preservation Technology and Training is is trying to close that gap to update some of the Secretary of Interior standards for how we can use these digital records. And for some of these sites, that's really our only option for documentation because the sites not stable. So us doing a physical survey, a tactile survey is actually precarious, but we can use drones and 3D scanning in ways that are going to get us, give us really detailed documentation. So I think it's trying to leverage those different opportunities and what they bring and why certain method works in certain places versus others. But the Conversations open, which I think is great and they're interested, which which is even better, so sure. No other ones I showed you today were some, you know, significant sites or it was tied into like the photos of Boynton in our in our house were from, you know, that congressional campaign. So that's just fortunate that there was a photographer out. Their local archives are really good, I would say talk to the local library. They might have something really random or the newspaper might have something. It's the case actually with a smaller newspaper that they probably still have some of their original documents. Whereas larger cities have either destroyed it or it's all on like microfilm at this point. Which maybe is even harder to look at now been a negative. So yeah, I would say just rely on some of those local resources. And what we've done for some of this other content are these like history, harvest of going to local communities, are talking to a neighbor and saying, Do you do you have a picture from the birthday party? Like did you take birthday party pictures and the building happens to be the background or or something. So, so that's where if you spend some time on site and, you know, are very clear about what you're doing and being curious and open. You can maybe make friends and they'll help you out. The breathe. There would be no. The manhole cover, yeah. Yeah. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Sure. Right. Right. Yeah. I think that's a great question, and especially that I definitely won't make an argument to freeze it in a moment. If anything, I think they should actually do some restoration of those buildings that are still in fairly good shape. The glass house and and Lehmans aren't aren't too bad at this point in time. But there's a couple different layers to it. First would be essentially working with the preservation agency and only until the summer to Selma get a preservation officer. So I think that's a really good sign that the city's investing in it. And then this is also that gray area because it's technically isn't the city of Selma, this is Dallas County. But but thankfully, there's a there's a good relationship there. But working with the preservation officer and we're kinda contacting the owners and telling them what's going on here and trying to help better explain the property and insignificance. A lot of it comes down to finances. And part of the argument that we are approaching owners with is that there's this potential for heritage tourism that could be generative and should be generative. And unfortunately right now and someone it's not. And that's largely due in part to think some of the the way the tours are setup that they're coming from Birmingham or Montgomery or Atlanta on a tour bus. They literally drive over like take a picture on the bridge and go home. They don't spend money in Soma. They don't eat their sleep there. It's like a cruise, right? Like the parks and Venice. And you don't actually spend any money in Venice. Venice is finally said, please don't do that anymore. But I think there's, there's something to be said here now that if there could be this heritage tourism infrastructure that, that is leveraged in capital, that could be really beneficial. There are museums here, there. I think there's the potential, there's certainly an interest. And trying to get the owners to recognize that there might be some some advantageous opportunities related to both kinda the stewardship of the property, but then also their own financial interest in the site that's not tied to a go-kart venture or whatever may show up there, a tire lot or something. A used car lot that's there right now. So those are kind of the negotiations that you try to have and try to explain for the owners? Or if that quite answers the question. But yeah, yeah. In archaeology because as you establish where most of the patients find ways of databases became subject matter but in the space. Oh my God. Giving interpretation of what you'd say. Oh, look like. And so they think, what do you get convection speed. Understand what they said. What does the architectural companies aren't doing? These designs? Yeah. So Mm-hm. Mm-hm. Yeah. That's a good question. I think it is in the coordination. I think it's in sort of this geospatial timeline that, that place and time matters. And that time is not frozen in a point that things evolve and change and, and how do we map fat and start to understand that? I think it's also just putting that the different pieces together in some ways a little bit like the networking of which sites are tied to what and why. We need to associate these places together. In the building, sort of reconstructions that might happen, or in the preservation of certain sites that ties in to play. B, I would say it's, it's, the subject matter is, is kind of inherently interdisciplinary and messy and complicated. But I think that makes it really, for me, fascinating because there isn't this linear path to it. And I think some of what we're working on in terms of like the digital recreations of sites and the way we're going about mapping. Is a hope of how we can do a replicable workflow. So basically how we can take another site that might have the archival photograph documentation and maybe a few physical elements there. And how they can pull that into a site study. So it's not that this would just be this, this moment in Selma, but, but maybe something that could happen at other places or times. Because it's really not there's not a workflow. So I think that's part of it too, is like what? Well, how do we make this, uh, uh, process and how do we, how do we start to disseminate this to make it useful to other people? Mm-hm. Mm-hm. Mm-hm. Mm-hm. Yeah. So that's one question. Do you like the theory? Just focusing? Right? Yeah. Does that and you see this, we're like, Yeah. That would be great, right? But precision. I'd love it if it would. I don't I don't know enough about the movie industry, but I would suspect or too slow for them like this. It just takes too much time to kind of put the pieces together. And I just imagine the logistics of filming are really difficult to, to make that clear, clear map of how things are happening. I mean, the one that's just like pops in my head is Gettysburg. They were really so specific about trying to map that battle exactly how it happened. And then there's one scene we can see a car drive by in the film. So there's just some things that aren't really in their control. But we have talked to a few other people who've done other other works and just how this, they're actually using 3D scanning to basically remap areas that if they missed a shot, they can go back and make this, this virtually rendered environment. And so for a sensitive area or like this one where you can't really close the row down. That could be a way to actually shoot what they need to in that area without being disruptive and being safe. So that could be an option. I think there's a huge data processing question in case or in the in the mix. In terms of the state of preservation, I would say the the 3D documentation technologies are being used in a number of sites. A lot of times they are the kind of capital a Architecture. And so for us to do some of this work at the kinda rural sites where we're working at is, is fairly unusual. And there's been a number of scholars who've, who've talked about that, that basically underserved communities, that the digital divide is just exponentially increasing. Those, those kind of what's underserved. And so it's an issue of sort of the hardware and the software. And for certain places, I mean, even looking at it, new Orleans and what we're seeing coming out of hurricane aida. If anybody saw, there's a, there's a very famous building tied to Louis Armstrong that totally collapsed. And there's just a photograph of before and after. And that's really what they have of that building. So, so I think the technologies kind of catching up slowly. It's just that the resources aren't really there. The documentation's not there. And I think this is a conversation that I have with Russell a lot and and, and other colleagues of like, what is the value of that completely accurate data? What is, what is that point really mean? For the kind of work that needs to go into capture it. And then how do we translate that into something usable? And for a lot of projects, like if we look at the Boynton house, we are doing digital documentation of it. But if there was a decision and that's all kind of pro Bono work. But if there was a decision on funding, like it needs a roof, it needs it needs stabilization. So a lot of times I could just gets really kind of value engineered out of a project. So that's where I think universities are really great partners because we have sort of the, the resources and the flexibility to hopefully contribute to this work. And I think it's as a state institution, It's a great part of our mission to to add to the record. You're a student and pay me I say that, so maybe they do. I don't know. Yeah. Yeah. Excellent. Thank You. Know, it's it's it's a privilege to work here has been really great. Take it take a trip to Selma. Let me know. I'll tell you some other places ago. Yeah. There's actually a hotel and salmonella, which is really exciting, so awesome. Thank you. Yeah.