Lunch  lecture.  Thank  you  coming. At  least  the  weather  because  it  cleared  up  days. This  room  would  might  be  empty  if it  was  like  yesterday's  weather. Yeah,  so  welcome  to  our  lunch  lecture. Into  our  normal  little  routine. First,  how  many  people  here  are  for  credit  students? Okay.  And  then  how  many  students, but  not  for  credit?  All  right. And  then  other  interested  parties.  All  right. And  I  will  remind  you  turn  your  phones, throw  away  your  trash,  please. Now,  let's  get  into  the  interesting  part. So  first  of  all,  teas  for  next  week. Speaker  is  Beth  Starner, professor  in  Interactive  Computing. And  I'm  having  known  him  as  I  do. I'm  sure  that  is  going  to  be  a  fantastic  presentation, no  matter  what  it's  on. But  speaking  of  fantastic  presentations, let's  focus  on  today. So  we're  going  to  be  hearing  from  Danielle  Wilkins. And  first,  let  me  tell  you  about  her. Danielle  is  an  associate  professor at  Georgia  Tech  School  of  Architecture, and  she's  the  initiative  lead  for resilient  and  informed  communities  at the  Institute  for  People  and  Technology, which  is  where  you  are  now. Her  research  has  been  supported  by the  American  Institute  of Architects  Center  for  Architecture, Sir  John  Sowins  Museum  Foundation, the  International  Center  for  Jefferson  Studies, the  American  Philosophical Society  Franklin  Research  Grant, the  Society  of  Architectural  Historians, and  the  National  Center  for Preservation  Training  and  Technology. She  holds  a  PhD  from  the  Bartlett  School  of  Architecture, a  master's  in  Philosophy from  the  University  of  Cambridge, and  a  master's  in  Architecture and  a  BS  from  University  of  Virginia. And  today,  she's  going  to  be speaking  about  challenging  erasure, collaborative  architectural  documentation and  historic  interpretation. Alright.  T.  Clear.  Thank  you.  Thank  you. Hopefully,  our  audios  being  Sounds  good. Awesome.  Thank  you.  Well,  if you  do  have  questions,  please  jump  in. But  I'm  going  to  take  you  through some  projects  primarily  in the  southeast  that  we've  been working  on  for  a  number  of  years. We  have  some  things  that  we're  doing  internationally, but  I  thought  we  would  focus a  little  bit  more  in  our  region. It  feels  very  prevalent. A  uh, critical  to  talk  about  some  of  these  issues  right  now, talking  about  sort  of  erasure  and representation  in  the  built  environment. And  hopefully,  there  are  some  points  of,  like, advocacy  you  could  take  away  and some  key  questions  about  what  we  see  and  what we  don't  see  and  what  the  story  is  behind  that. Um,  so  I'm  very  fortunate  to  work  with an  amazing  team  of  people  from  the  US  and  from  abroad. And  so  I've  listed  some  of  our  key  partners  here. There's  a  huge  list  of students  who've  been  part  a  lot  of  this  work. So  a  massive  thank  you  to  them. And  we're  always  eager  to  kind  of feed  our  research  pipeline. So  as  we  get  new  grants and  other  opportunities,  we  try  to  advertise  those. Um  but  I'm  going  to  start  off  very  local. So  St.  Mark  AME, which  might  be  a  site  that  some  of  you  are  familiar  with. It's  over  on  the  west  side, so  hopefully  you're  familiar  with  this  map  of  Atlanta, which  gives  us  a  nice  kind  of topographic  view  and  showing  Georgia  Tech  in  there, but  also  showing  what we  know  today  as  English  Avenue  neighborhood. So,  named  after  John  English. He  would  be  a  mayor  of  Atlanta, owner  of  the  Chattahoochee  Brick  Company, which  has  quite  a  charged  history. But  at  this  corner, there  used  to  be  a  wooden  church  and  then  eventually was  replaced  with  the  brick the  stone  shell  that  you're  seeing  here, it's  made  out  of  stone  mountain  granite. Um,  so  this  was  built  by  a  Baptist  white  congregation, and  they  occupied  this  church  until  about  19:48, and  it  was  sold  to  a  African  American  congregation just  to  the  south  in  Vin  City, whose  church  mysteriously  burned  one  summer. And  so  they  took  over  this  building and  it  was  used  very  actively  through  1976, is  a  place  where  Booker  T  Washington held  some  of  their  graduations. And  as  you  can  see  now,  it  is  just  a  show. So  it  was  abandoned because  there  basically  wasn't  parking. The  congregations  still  active. It  has  just  moved  outside  of  the  belt  line. But  Pastor  Winston  Taylor, who's  in  the  baseball  cap,  has been  one  of  our  key  collaborators  here. He's  an  architect  and born  and  raised  from  the  Old  Fourth  Ward. And  we've  been  fortunate  to  work  with him  on  documenting  the  site. So  one  thing  that  we've  been  really  trying  to  contribute to  is  something  called the  Historic  American  Building  Survey. So  that's  housed  within  the  library  of  Congress, and  only  about  2%  of  their  collections represent  African  American  history within  the  United  States. So  we've  been  doing  the  documentation  projects  that are  kind  of  feeding  that  database that's  accessible  and  free  to  everyone. So  that  includes  architectural  drawings, and  as  you  can  imagine, kind  of  capturing  the  stone  on this  structure  was  quite  a  job. And  doing  things  like  three  D  scanning  with  WDR, so  really  high  resolution  data  captures that  allow  us  to  study  how  the  structures  looming, if  things  are  changing  over  time  because  it's an  unreinforced  stone  wall. And  basically,  what  are  some  of  the  things  that could  happen  along  that  corridor  to reactivate  the  space  and  working  very closely  with  Pastor  Taylor  and  his  organization, which  is  called  the  Beloved  Community. We've  been  lucky  to  have  students  engaged  in this  through  architectural  studios, so  doing  some  survey  work, but  then  also  doing  research  seminars that  are  starting  to  tell  the  story  of  the  building. Well,  we  have  a  publication  coming  out  on  this  shortly, and  if  you've  ever  seen  it  kind  of  keep  your  eyes  open, we're  going  to  hopefully  have  an  event here  later  this  spring. They  tend  to  do,  like,  jazz  nights  and  just  other  things, bring  food  trucks  over  just  to  activate the  space  and  get  people  to  know  it  a  little  bit  more. So  it's  a  really  phenomenal  site and  one  that  we're  eager  to  see  how  it becomes  a  conduit  for other  proactive  change  in  the  community. Um,  so  part  of  this was  sort  of  the  data  capture  side  of  things. So  doing  our  aerial  photogrammetry  with  drones, doing  DR,  with  our  terrestrial  scanner, creating  these  HBM  models, so  heritage  building  information  models  that  allow  us  to attach  photographic  and  archival  information. So  this  is  really  like  a  living  model  that  can  be  used  to actually  study  the  space  to start  to  do  proactive  preservation, to  look  at  the  kind  of  structural  health. As  I  was  talking  to  a  few  people  earlier, it's  always  easier  for  us  to anticipate  something  that  might  be going  wrong  in  a  building  and try  to  fix  it  rather  than  having  to  react  to, like,  a  structural  failure, something  that's  going  on  in  the  building. So  these  aren't  just  captures  for  visual  sense, but  they're  really  ones  to  allow us  to  better  study  the  building  and keep  its  health  at  the  premier  state  that  we  can. And  then  thinking  about  how  do  we  support  it,  right? This  is,  like  I  said,  an  unreinforced  stone  wall. So  what  can  we  intervene that's  not  going  to  take  away  from  the  structure? Um,  and  that  might  give  it  some  winload  support. And  there's  a  chat  right  now  that  it's adaptive  programming  reuse  would  be in  a  library  and  kind  of thinking  about  what  does  a  24th  library  look  like  in the  sense  of  it  being  a  resource  center where  people  can  get  the  Internet. There's  a  fair  number  of  hooks  on the  west  side  that  do  not  have  good  Internet  access. It's  going  to  be  a  place where  you  can  kind  of  get  out  a  heat and  hopefully  spend  some  time within  a  neighborhood  asset, so  you  don't  have  to  actually  go  outside  of your  neighborhood  to  take  advantage  of  it. Moving  a  little  bit  farther  south, I'm  going  to  show  you  a  few  things that  we've  been  doing  along  MLK, which  was  originally  called  Hunter, which  was  named  after  the  largest  slave  owner  in  Atlanta. And  so  if  you're  familiar  with these  Sandborn  Fire  Insurance  maps, we  use  these  quite  a  bit  in our  research  to  basically  study  what  was there  before  and  to  better understand  what  that  corridor  would  have  looked  like. So  this  was  the  1911  version, lots  of  single  family  homes, single  story  along  the  MLK  corridor, and  then  you'll  see  some  kind of  interpretation  pieces  pop up  that  shows  some  other  structures that  might  be  a  little  bit  more  familiar  to  you. Towards  what  was  Atlanta  University. So  fountain  Hall,  Gaines  Hall  on  the  right  hand  side. Um,  how  nice  to  have  a  street  car. Imagine  public  transportation. And  then  as  we  would  be  passing  on  our  left, what  is  now  Clark's  Stadium, and  then  moving  down  towards the  farther  part  of  the  west  side  on  currently  named  MLK. And  again,  you're  seeing  sort  of  the  density of  the  businesses  here, predominantly  African  American  district tied  here  to  sort  of  Vine  city and  Atlanta  University  Corridor  then a  few  structures  that  are  really tied  into  the  civil  rights  movement. So  Pascools,  which  is still  existing  and  you'll  see  some  images  of  this. And  as  we  continue  down  a  few  other  sites, what  you're  looking  at  now  on  the  top  would basically  be  where  the  Chi  file  is  now. If  you're  familiar  with  this  area, Walmart  would  be  behind. So  showing  people,  you  know,  what  was the  density  like  in  these  areas. Why  were  these  corridors  significant? And  part  of  our  research  and mapping  and  visualization  here  is  also tying  to  sort  of  a  ramp  up  for 1968  and  working  with  the  National  Park  Service  to hopefully  do  a  virtual  tour of  what  it  would  have  been  like  to  go from  Ebenezer  Baptist  Church  to The  Atlanta  University  Center  to  Moorhouse, which  is  part  of  the  funeral  procession  for  King. So  West  Hunter  Baptist  Church  is  in  good  shape. If  you're  familiar  with  it,  this  is  part  of  Pascals, which  was  a  famous  kind  of  hot  lunch  area  and a  critical  area  for  the  civil  rights  movement  founded  by two  brothers  who  has  been  to  Pascals  in  Castleberry  Hill. Anybody  know  it?  A  couple  of  people. I  like  the  airport. They  franchise  to  the  airport,  as  well. Um,  but  so  they're  not  in  their  original  location, but  the  business  very  much survives  in  its  franchise  operations. And  it's  a  spot  that  was  known  to  really  host a  lot  of  critical  meetings  for  the  civil  rights  movement. John  Lewis  noted  this  was  the  last  place where  he  saw  King  alive. And  this  was  actually  the  first  place  that  Louis, so  who  would  have  been  Georgia  Tech's  representative, said  that  he  actually  saw  King  in  person. Um,  and  showing  how  this became  a  key  corridor  along  that  funeral  procession. So  like  I  said,  this  is  sort  of  ramping  up to  hopefully  help  us  tell  this  story  of what  this  road  means  and  how it's  connected  to  the  East  side  over  to the  MLK  birth  Home  and  Ebenezer  Baptist  Church and  the  Martin  Luther  King  junior  National  Park  Sent. So  using  photographs  has  been  really  critical  to  this, the  geospatial  data  that  we  collect  through drone  footage  and  through  terrestrial  scanning  and then  doing  a  lot  of  the  modeling  that  you're  seeing here  to  try  to enliven  this  space  and  help people  understand  what  they're  seeing. Um,  so  our  audiences  are  often  tied  to,  like, public  interpretation  and  giving  people  a  better  sense of  what  their  city  or  this  place  that they're  visiting  might  have  looked  like  in a  different  time  when  you walk  through  now  and  you  might  not  get  a  sense  of, like,  the  density  or  the  activity  in  those  spaces. But  then  we're  also  working  very  closely  with preservation  organizations  and  non  profits to  reactivate  certain  spaces.  So  odd  fellows. Hopefully,  you've  all  seen  a  lot  of really  proactive  changes  happening at  OddFellows  if  you've  seen  it  from  the  highway. So  it's  the  tall  building  um,  right  here. The  John  Lewis,  Mural  is  just  down  the  street, so  it's  something  you  see  from  the  highway  very  easily. Hopefully,  you  recognize  that  this  has  some scaffolding  up  on  it  right  now,  and  at  one  point  in  time, there's  scaffolding  wrapping, both  the  West  and  the  South  sides. Uh,  so  we  were  part  of this  project  team  to  kind  of  document  the  site  really quickly  and  help  mobilize  a  permit  set  for  the  city to  get  the  rehabilitation  work going  for  the  site because  it's  been  purchased  by  Georgia  Works, which  is  a  really  phenomenal  nonprofit that's  working  on  reducing  recidivism. So  basically,  a  lot  of  people  who  get  out  of prison  find  themselves  in a  situation  where  they  don't  have  a  permanent  address. They  don't  have  a  steady  job  and  can  easily  sort  of  slip into  other  behaviors  or patterns  that  really  give  them  little,  if  no  support. If  anything,  really  kind  of  negative  reinforcement. And  so,  Georgia  Works  have  been working  really  diligently  for the  past  couple  of  years  with  predominantly  men. They're  going  to  expand  to  women  when Odd  Fellows  opens  up  to  actually  have  them  do some  community  based  projects  and  then  phase  into job  training  and  then  eventually move  into  independent  work, but  they  have  a  place  to  live  while  they're  doing  this. They  have  a  kind  of communal  sensibility  while  they're  there. And  I  think  what's  really  exciting  is they're  working  within  Odd  Fellows, which  was  founded  in  1911  as  essentially  like an  African  American  cooperative  organization and  a  think  tank  in  a  lot  of ways  for  a  lot  of  different  organizations. Some  of  Atlanta's  first  businesses, like  its  first  African  American  dentist, its  first  African  American  pharmacy was  around  the  corner. First  African  American  law  office  was  in  this  building. So  it's  a  really  amazing  place that  was  about  sort  of  uplift  in  the  community. And  you  figure  this  is  not  too  long  after the  after  the  race  riot  that  was  here  in  Atlanta. So  I  think  it's  a  real  symbol  of,  like,  resilience. So  kind  of  keep  your  eye  on  this  project. This  shows  you  some  of  the  methods  that  we're  doing between  laser  scanning  and  aerial  photogrammetry, Matter  ports,  actually  using essentially  real  estate  technology in  a  way  that  it  was  not  really  designed  for. And  putting  those  all  together  to  give  us these  accurate  models  to  be  able  to generate  a  pretty  good  level  of detail  model  to  get  the  permitting  to  roll  through. So  they're  hoping  this  is  going  to  open  up  this  summer. So  kind  of  keep  an  eye  out. It's  a  really  exciting  project, and  there's  going  to  be four  new  businesses  on  the  ground  floor. So  hopefully  some  cafes and  some  interesting  things  are  going to  open  up  down  there  and should  be  well  worth  checking  out. So  keep  an  eye  on  odd  fellows. What's  come  out  of  some  of  this  work  in  terms  of, like,  the  documentation  is  where  we  realize  our  gaps. So  not  just  in  maybe,  like,  archival  record, but  then  also  in  how  people  understand  issues  with projects  and  when  to  interact  with  historic  projects, when  to  do  that  proactive  preservation. I  will  say  we  encountered  a  project  a  couple  years  ago. Where  someone  had  said  to  the  building  owner, the  damage  has  already  been  done  to the  building.  Like,  it's  fine. We'll  just  kind  of  move  forward  from  here. And  I  would  say,  as  you  know, architectural  designer,  as a  historian,  that's  not  accurate. If  it  continues  to  rain in  your  building,  that's  an  issue. And  so  what  we  do  is  something  called  mothballing. So  basically,  we  can  get  a  project to  a  point  of,  like,  stasis. And  so  there  might  not  be  the  funding  or  the  permitting in  place  to  reactivate  that  space  right  away, but  at  least  we  can  make  sure  that  there's not  more  damage  or  accelerated  damage. Because  of  what's  happening  in  that  space. And  so  that's  one  where  we're  trying  to help  some  of  these  people  make  decisions  about  investing, you  know,  a  little  bit  of  money  to actually  get  it  to  that  point  of  stasis, and  it  buys  you  some  time,  right? It's  a  little  bit  of  a  band  aid, but  it  means  that  you're not  going  to  cause  accelerated  damage. And  often  analogy  we  talk  about  is  like a  $50  problem  very  easily  turns  into  a  $50,000  problem. So  those  are  things  we  want  to  avoid, especially  in  projects  we're  working with  a  lot  of  non  profits. We're  working  in  sites  that  don't  have  access  to, you  know,  unlimited  funding. So  one  of  the  things  that  came  out  of this  was  this  wood  glossary, we  were  working  with  the  Smithsonian  on their  oldest  asset  and  their  inventory  that's  in  situ, which  is  the  Selman  tenant  House. It's  at  the  Smithsonian  Environmental  Research  Center. And  I  will  say,  I went  to  high  school  outside  of  Washington,  DC. I  felt  like  I  knew  the  DC  area  and the  Smithsonian  collections  really  well. I  had  no  clue  this  place existed  until  we  went  up  here  a  couple  of  years  ago. It's  really  phenomenal  as  a  scientific  research  center. But  what's  also  exciting  about the  spot  is  that  they  have  this  tenant  farm. So  it  was  a  former  plantation  that's  now been  reclaimed  as  this  environmental  research  area. After  emancipation, what  we  think  happened  was  there  were  a  number  of enslaved  cabins  that  were  dismantled  and then  constituated  along  different  parts  of  the  property, essentially  put  back together  in  different  configurations. We  think  this  one  was  basically two  former  enslaved  cabins  put  together. There's  different  construction typologies  are  happening  here. So  dating  back  to pre  emancipation  eras  and  some  to  about  18  70. So  we  were  basically  trying  to,  like, figure  out  how  this  Frankenstein  building  came  to  be and  what  story  it  was  really  telling  us. It  had  been  occupied  until  1970, which  is  pretty  amazing  that it  had  continuous  inhabitation, and  it  had  never  been  electrified  or  plumbed. They  had  the  fire  in  the  center. So  it  was  a  really  fascinating  building  in the  sense  of  very  little  intervention  had  happened. So  we'd  done  a  comprehensive  survey  of  it. At  some  point,  someone  had  put on  siding  that  was  actually never  meant  to  be  exterior  siding. It  was  essentially  a  form  of,  like, cardboard  that  was  just  rotting.  They  did  a  tin  roof. And  so  we've  kind  of  taken  it  through the  documentation  layers  over the  last  couple  of  years  from  its  initial  version  where it  has  this  white  press  board  on  it. Like  I  said,  it's  never  meant  to  be  an  exterior  material. Then  when  they  stripped  everything  back, added  new  waterproofing,  added  absolutely,  like, beautiful,  wonderfully  smelling new  wood  planes  and  shingles  to  it. And  the  building  looks  absolutely  phenomenal  now. So  this  was  the  sort  of  starting  point  of  the  structure. And  we  were  able  to  get  a  lot  of really  detailed  information  about this  to  create  our  HBM  model. And  we're  hoping  this  is  going  to  get  used for  public  interpretation  because  the  Smithsonian  won't be  able  to  essentially  have  a  person  in  this  building at  all  times  to  be  able  to  open  it up  for  visitors  to  check  out. There  was  a  fire  at  one  point, so  there's  some  structural  compromises on  that  upper  level, essentially  this  loft  area. So  this  is  one  where  we  hope  that people  can  actually  see  it  and  interact  with it  from  a  little  kiosk  or a  QR  code  that  we're  going  to  implement. And  then  it  might  actually  show  up within  a  Smithsonian  museum exhibit  down  the  road that  we're  trying  to  work  with  them  on. Um,  so  really  careful  study  of,  like, literally  modeling  every  single wooden  member  within  the  structure. Again,  how  this  building  is  telling  us  a  story. And  we're  working  really  closely  with the  head  preservation  architect  of the  Smithsonian  who's  now  retired, and  this  has  really  just  become  like her  passion  project  that she's  been  engaged  with  for  the  last  couple  of  years. And  you  can  see,  as  we  get  kind of  further  along  within  our  detailing,  you  know, using  some  pretty  advanced  modeling  technologies to  try  to  understand  what  our  tolerances  are, how  we  can  start  to  narrate this  color  coded  version  that shows  the  different  eras  of  the  building. So  where  different  members  are  from, which  era  they  were  from. And  then  that  allows  us  to  move  into Kind  of  the  final  capture  so  the  scaffolding  that  was up  around  as  they're  adding  the  new  shingles  to  it, it  looks  so  much  better  without  this  red  tin  roof. And  now  this  is  what  it  looks  like, which  is  restored  to  what  it  would  have  originally been  during  its  initial  construction. And  like  I  said,  the ephemeral  side  of  it,  it  smells  really  good. Like,  the  wood  just  smells lovely  when  you're  on  the  property, even  if  you're  standing,  like, 100  feet  away  from  the  building, you  can  smell  all  this  collected  wood,  which  is  great. What  we  realized  was  part  of  this  was  that  there  wasn't a  really  great  way  unless  you  had  a  wood  expert, like  we  did  with  Sharon, who  was  essentially  a  nail  expert  with  the  Sisonian. You  could  give  her  any  nail  and she  could  tell  you  what  year  it  was  from. But  also  had  an  immense  amount  of  knowledge  about wooden  construction  from essentially  the  late  18th century  to  the  early  20th  century. But  if  you  don't  have  an  expert  like  that  on  hand, it's  really  hard  to  diagnose issues,  to  understand  what's  going  on. What  are  some  of  the  elements you  need  to  do  to  take  action. So  we  started  to  think,  well,  we're  at  Georgia  Tech. There's  a  lot  of  really  smart  computational  folks  here. Is  there  some  way  that  we  can  mold historical  architectural  information  with  a  bit  of, like,  machine  or  deep  learning? And  so  that's  what  we're  working  on  now, and  we  have  a  grant  from the  National  Center  for  Preservation  Training and  Technology  to  start  to  collect an  image  database  and  start  to  have a  taxonomy  that  we've  built  that  you  could  use  use, like  the  plant  apps  that  tell  you, like,  you  need  to  water  your  plant  more. We  want  to  do  something  similar that  you  could  actually  point  it  at something  within  a  wooden  construction, and  it  would  say,  This  is punky  wood  or  this  shows  algae  growth. This  shows  wet  rot  or  dry  rot. And  what  are  some  of  the  ways  you can  fix  that  or  prevent  it? Is  it  something  that  needs  urgent  care  or  is it  a  professional  to  come  out  and  help  you  deal  with  it? Or  is  it  something  that  there's  actually  some  smaller, easier  steps  that  you  can  take  as  that  property  owner? So  we're  working  towards  this  and  making  some  strides, but  building  a  really  large  image  database  and focusing  primarily  on  the  southeast  for  um, we  got  overwhelmed  pretty quickly  with  thinking  about  where  are  we  doing  this? Like,  what  wood  species  are  we  looking  at? How  are  we  actually  training  the  model to  start  to  identify  these  areas. So  our  focus  is  largely  on  the  Southeast. So  Salmon  is  a  little  bit  out  of  our  range. But  it  was  our  launching  point since  it  was  up  in  Maryland. A  lot  of  the  we're  collecting right  now  is  from  Georgia  and  South  Carolina. Um,  and  starting  to  attach  elements. So  what  we're  hoping  is  down  the  road, this  would  actually  be  something  that's  also  crowd source.  So  you  can  interact  with  it. You  can  get  some  more  data,  collect data,  but  you  can  add  data  to  it. You  could  add  a  picture  and  say,  Hey, can  you  help  me  identify  what's  going  on  here? Um,  and  allow  us  to  really  build  out  that  database. Because  the  resources  that  are  available  now  for,  like, historians  or  preservation  architects  or property  owners  are  essentially wood  glossaries  that  have  really  bad  images, like  grainy  images  that  aren't  super  helpful. So  how  do  we  make  something  that's  more  interactive, that's  more  specific  and  that  is  actually tied  to  your  geological  or  geographic  region? Because  it's  not  going  to  diagnose  a  problem that  you  wouldn't  physically have  in  your  particular  region, or  maybe  is  going  to  identify  a  certain  type  of wood  that's  going  to have  some  different  properties  than  others. So  this  is  something  we're building  and  trying  to  kind  of  get  it  to  the  next  level. Our  project  at  the  Penn  Center is  one  that's  been  really  fortunate to  involve  a  lot  of  students. We've  had  support  from  SCORE, from  BBISS  to  do  work  over  there, and  the  Penn  Center  is  this  really  fascinating  site. Has  anybody  heard  of  the  Penn  Center  before?  Way.  Okay. There's  an  inherent  connection  to  Atlanta. So  the  Penn  Center  is  a  site of  early  emancipation  entrepreneurialism. So  it  started  in  18  62. So  pre  emancipation  proclamation. It's  called  the  Port  Royal  Experiment. So  basically  on  St.  Helena  Island, there  were  10,000  formerly  enslaved people  who  suddenly the  federal  government  said,  What  do  we  do? And  so  there's  a  few  initiatives  that  are launched  from  business  training, agricultural  training,  and  also  schooling. So  education.  So  a  school  started. The  reason  it's  Penn  is  because  there  are a  couple  Quakers  who  came  down, so  an  ode  to  William  Penn. They  came  down  to  be  teachers  at  the  Penn  School, and  the  phrase  was  to  catch  the  earning. So  students  were  really  excited  of all  ages  to  learn  how  to  read, to  learn  how  to  engage with  their  site  in  a  really  interesting  way. And  this  has  been  a  continual  kind  of investment  in  the  community  since  18  62. So  it  was  meeting  a  gap that  was  in  South  Carolina  because  until  1948, African  American  students  were  not guaranteed  an  education  past  the  grade  of  eight. So  until  that  enforcement  came  forward, this  was  basically  where  students  could  go  K  through  12. At  one  point  in  time, it  was  the  leading  producer  of  people  who  would go  on  to  be  doctors  and  nurses  from  South  Carolina. And  people  would  then  come  back  to  the  community. So  it  wasn't  as  though  people  were  sort  of  heading  out, but  they  would  often  go  to  different  places, particularly  in  New  York  and  Pennsylvania,  Chicago, and  then  eventually  come  back  and  kind  of  resettle  within this  Gigichi  corridor  since this  is  part  of  the  Sea  Islands. When  it  no  longer  needed  to serve  that  kind  of  Kth  12  function, it  turned  into  the  Penn  Center. So  previously  was  the  Penn  School. But  as  the  Penn  Center,  it  became  a  site  where people  could  come  and  have  organizational  meetings. It  was  a  really  important  meeting  place  for the  civil  rights  movement  because  it  was  easily controlled  in  terms  of  who  could come  in  and  out  because  it  was  an  island. There  wasn't  a  bridge  built  yet  to  the  island. And  this  is  a  place  where,  like,  the  SCLC, so  the  Southern  Christian  Leadership  Conference, would  often  have  meetings,  liaising with  lots  of  other  organizations. Reverend  doctor  King  spent  a  lot  of  time  here, and  that's  the  kind  of  inherent  connection is  that  we  have  the  King  connection  between these  two  sites  and  the  Penn  Center  is  where he  wrote  some  of  the  drafts  of  the  I  Have  a  Dream  speech. Um,  and  so  we've  been  working  with  that  site. It's  a  national  historic  landmark  district. It's  part  of  the  Reconstruction  era National  Park,  as  well. And  there's  a  couple  of  things kind  of  brewing  at  this  place. Number  one,  it's  about  site  advocacy, kind  of  getting  this  on  the  radar, working  with  some  of  their  interpretation  materials to  help  tell  the  story  of the  Penn  Center  and  this  absolutely  amazing  ecology along  the  St.  Helena  Sound. Um  the  Atlanta  Preservation  Center is  very  active  in  this. And  then  the  Culture  and  Community  grant  is  a  partnership with  the  Mellon  Foundation  and  UGA  that  has brought  together  a  number  of other  universities  to  come  to  the  site  and  use it  as  a  place  for meetings  and  enrichments,  and  they  do  a  summer  program. If  if  you're  a  student  and  you're interested  in  this  and  you're going  to  be  a  student  next  year, reach  out  to  me  because  we'll  have a  few  student  spots  to  send  people  down  here  this  summer, as  well  to  be  part  of  this  week  long, really  amazing  intensive  workshop that  happens  through  the  Penn Center  Culture  and  Community  program. But  you  can  see  the  kind  of  area and  some  of  the  initial  buildings  that  were  down  here. They  actually  sent  down.  This  is a  Sears  building,  if  you're  familiar  with  that. So  that's  another  connection  that  we have  Pont  City  Market  was  a  Sears  distribution  warehouse. But  you  can  see  where  the  island  is. This  barrier  island  is  now  a  park,  a  state  park. So  thankfully,  that  one  is  protected  from  development. You  can  see  Hilton  Head  here, which  in  a  lot  of  ways  is  like  the  antithesis  of what's  going  on  at  St.  Helen  Island, not  to  be  snarky,  but  it's like  development  run  wild  right  at  Hilton  Head. And  so  this  is  a  place  where  there  is still  very  much  legacy  residence, Gallaghechi  Heritage  preserved  in that  place  Paris  Island, so  home  to  the  Marines and  really  fascinating  elements  in  Beaufort. Story  of  Robert  Smalls,  like,  great  history  here. They  have  an  amazing  archive  that  is housed  at  the  University  of  North  Carolina. That's  a  longer  story  beyond  the  purview  of  this  talk. But  if  you  want  to  know  why  it's  not  a University  of  South  Carolina,  come  ask  me. And  it's  pretty  interesting. It's  pretty  juicy. Um  Uh, but  this  is  a  site  that  they had  kind  of  constant  evolutions, adding  new  buildings  to  it. It's  now  a  23  building  campus. I'm  actually  headed  there  tonight  for  some  work. But  a  really  fascinating  place  where  there  were residence  halls  built  by the  students  who  were  in  residence  there, meeting  spaces,  agricultural  production  areas, really  self  sufficient,  kind  of  fascinating  area. And  like  I  said,  a  core  kind  of  place for  advocacy  and  meetings,  as  you  can  see, some  of  the  the  captured  images  here  with  a  lot  of familiar  faces  within  what  was  called  Frogmore. That  was  the  name  of  the  former  plantation, where  the  land  was  and  is now  named  the  Frizell  Community  House. Um,  so  this  is  showing  you  some  of the  key  kind  of  archival  imagery  that  we  have. It's  much  more  forested  now. So  this  image  is  a  little shocking  to  people  who  go  down  and  visit. Where  King  wrote  the  drafts  of  the  I  Have a  Dream  speech  this  little  cottage  back  here  called  Gant, which  is  named  after  the  person, the  Friedman  who  gave  land  to  the  initial  elements. If  you  want  to  explore  a  little  bit, you  can  use  the  QR  code. It'll  take  you  into  a  virtual  tour  of  part  of  the  campus. So  we're  working  with  them  on  thinking  about  how do  you  enhance  interpretation  at  this  site? How  do  we  make  sure  that  we  have an  HBM  model  for  all  the  buildings? Because  this  is  a  place  where,  like, the  history  of  the  structures and  the  archive  are  in  one,  right? You  can't  divorce  the  history  from  the  buildings. And  it's  a  place  that  is  under  threat. And  so  the  reason  for  this, if  we  look  at  St.  Helena  Island, it  was  developed  by  the  Penn  Center, that  whole  corridor  as a  cultural  protection  overlay,  the  CPO. Um,  and  the  CPO  has  recently  been  challenged, basically  saying  it's  an  overreach  of cultural  and  land  protection, basically  zoning  protections. Um,  the  CPO  is why  St.  Helena  doesn't  look  like  Hilton  Head, because  that  was  put  in  place  in  the  90s. And  so  this  is  giving  you  kind  of  a brief  timeline  of  things. And  what's  been  fascinating  is  as this  developer  purchased  this  piece  of land  which  is  called  Pine  Island. It's  a  very  end  of  St.  Helen  Island. And  you  can  see,  it's  not  developed,  right? There  are  no  water  and  sewer  infrastructure  pieces  here. There's  not  even  the  paved  road  that  goes  out  here. So,  you  think  about the  intervention  that  would  need  to  happen  to develop  this  into  a  golf  course  community, which  is  what  they  want  to  do  with  it. Um,  their  argument  is  it's  not a  golf  course  because  it  is  three, six  hole  game  places. But  last  time  I  checked,  like,  that's  a  golf  course. So  it's  been  challenged. And  what's  been  really  exciting is  to  see  these  signs  everywhere. It's  been  a  really  unifying  element  for  the  community, regardless  of  really,  like,  race, age,  demographic,  you  know,  you  name  it. But  you'll  see  this  no  gates, no  golf  courses  throughout. And  so  there's  been  a  very  grassroots  movement for  partitions  to  kind  of protect  this  and  deny  this  resort  construction. There's  been  a  lot  of  money  put  into  this  matter. It's  ongoing  litigation. They're  currently  in  kind  of  a  mediation  phase, which  will  probably  fail. And  so  we'll  see  what happens  when  that  moves  to  the  next  level. There's  been  a  number  of  legal  agencies that  have  been  in  here  pro  bono, which  has  been  great  to  be  part  of  this  advocacy  project. And  then  the  Coastal  Conservation  League has  been  really  instrumental  to  this,  as  well. And  so,  like,  why  does  this  matter,  right? Why  does  this  place  need  to  be  protected? Why  does  it  matter  that  there's  not this  massive  golf  course and  gated  community  at  the  end  of  it? Number  one,  if  we  look  at  it, we  know  that  when  property  is  lost, it  doesn't  come  back,  right? Yeah.  So  it's  a  major  conservation  issue. It's  an  energy  issue.  It's  a  drain  on  resources. It  is  going  to  impact  property  values. We  see  that  here  in  Atlanta, like  development  on  the  west  side, um  so  legacy  residents  who  have  been  here  are  suddenly going  to  have  their  property  taxes skyrocket  and  won't  be  able  to  keep  up  with  it. So  the  Penn  Center  has  really  been  like  the  voice  of the  island  trying  to  be  an  advocacy  point, and  we  have  a  community  meeting  tonight  that's talking  about  sort  of  where  things  are and  how  things  are  moving  forward. So  thankfully,  with  Georgia  Tech  support from  two  different  grants, we  were  able  to  do  some  interventions down  there  and  have  some  workshops, bring  a  number  of  people  to  the  site  and  start  to  do some  interesting  planning  initiatives that  are  related  to  coastal  resiliency, and  essentially  this  as  a  resiliency  hub for  the  community  you  figure  this  is  also a  place  that  is  under threat  of  hurricanes  and  things  like  that. Yeah,  question  or  stretching.  Stretching.  Okay. But,  you  know,  this  is  a  site  that  has deep  roots  to  education  and  always  has. So  it's  a  place  where  people  know  you  can  go  and  get information  has  this  extremely rich  archive  that's  attached  to  it. The  cultural  protection  overlay  was  put  into place  by  residents  as  their  advocacy  point, and  so  maintaining  that's  really  critical. Thinking  very  proactively  about what's  going  on  with  sea  level  rise. If  we  look  at  sort  of  Noah's  forecasting, much  of  St.  Clem  Island  goes  underwater. Um,  and  so  additional  development  that's  putting  strain on  resources  that  are already  really  kind  of  exacerbated  is  a  problem. Um,  and  then  working  with  these  different  organizations. So  this  isn't  one  where  we  just  have  a  couple people  kind  of  loosely  working  together, but  if  it's  a  real  coalition, which  is  exciting  to  see these  different  voices  come together  and  talk  about  what  it  means to  protect  the  site  and  to ensure  that  it  is  there  for  the  future  generations. So  as  part  of  this,  we've  been  able  to  bring  a  number  of students  down  for  different  activities. They've  helped  work  on  some  new  maps for  the  area  to  help  people  better  understand  the  campus. There's  a  lot  going  on  when  you  get  down  there, so  it's  hard  to  really  orient  yourself. Um,  uh,  we've  created a  three  D  model  for  people  to  be  able  to actually  understand  where  they  are  in the  site  and  help  with  interpretation  in  that  regard. And  starting  to  do  a  lot  of  three  D  scanning  here, our  datasets  are  getting  pretty  huge  for  this  site, but  it's  exciting  to  think  about  having this  resource  and  being  able  to  create a  whole  HBNel  model  for  the  campus. So  slowly  getting  to  the  database. And  this  is  Sant  Cottage, so  this  is  where  King  stayed  when  he  was  on  campus. Um  Students  have  gone  down  and  have been  doing  historic  American  Building  survey  elements, so  you  can  see  them  kind  of  working  on site  as  part  of  a  studio  project, been  able  to  meet  with  local  artists  like Amari  Ferris  and  start to  build  out  what  we're  calling  building  biographies, so  you  understand  what  the  story of  those  structures  actually  is. What  are  you  looking  at?  Why  is  it  significant? And  it's  tied  to  some  historical  records. So  whether  that's  Habs  photographs  or  some  of the  amazing  letters  and photographs  that  we  have  throughout  the  archive  there. So  these  are  like,  really  living  laboratories, and  I  think  that's  what's  exciting  for  us  at the  site  to  think  about who  was  there  and  absolutely  love  her  face. She's  not  impressed  with what  King  is  saying  at  the  moment. Uh,  and  thinking  about  these  being  built,  like, by  the  students,  by  the  residents, they  were  meant  to  be  really  didactic  spaces. And  so  how  do  we  maintain  that? And  ensure,  again,  they're  around  for  future  generations. Um  telling  these  timelines, showing  involvement  of  different  organizations, different  groups  throughout  these  spaces, and  doing  some  really  in  depth  studies on  the  environmental  aspects. So  this  was  from  a  studio  last  semester  of 15  senior  architecture  students who  spent  about  four  days  four  nights, five  days  down  at  the  site, and  then  we  did  some  really  in  depth  studies  of, like,  vernacular  wooden  typologies. What's  the  kind  of  architecture  we're  looking  at. Why  do  we  need  to  pay  attention  to  it? Meeting  with  site  members and  leadership,  looking  at  joinery. So  there's  some  really  interesting  joinery  details at  the  site  and  looking  at  precedents  for  those. And  then  studying  what's  going  on  at  the  site. And  I  don't  know  if  you  can  quite  make  this  out, but  there's  a  crack  in  this  truss. So  we've  been  doing  some  structural  analysis down  here  and  starting  to  look  at,  you  know, how  do  we  get  in there  and  start  to  understand how  to  stabilize  this  structure, which  is  partially  tabby. So  it's  this  really  interesting  oyster  concrete  mixture, which  is  really  unique  to  the  southeast. So  three  D  scans  that allow  us  to  see,  like  the  deflection, we're  able  to  study  how  far  the  joints  are moving  and  doing  kind  of constant  monitoring  and  thinking  about  what's the  least  invasive  way  to  get  support. Um,  so  one  of the  things  the  Penn  Center  is  really  interested  in  is, how  do  we  actually  build a  new  multipurpose  building  that's outside  of  the  historic  campus  that  will  give them  the  opportunity  to  host  bigger  events  to  do some  things  accessibility  wise  that aren't  as  easy  to  do  in  some  of  the  historic  structures. And  so  that's  what  our  charge  was. So  students  in  teams  of  three  came  up  with some  proposals  for  the  site of  where  that  building  could  go  and  what  it  might  do, how  it  might  be  built  in  phases, how  it  can  be  used  for  education. Outreach,  fundraising,  and  even, like,  essentially  a  hurricane shelter  if  something  would  happen. Like,  it  could  be  a  safe  respite  spot  for  people who  might  not  be  able  to  get  off the  island  or  weathering  a  certain  storm. So  I  think  they  did  some  amazing  work  on  this  project, and  we  were  able  to  present  to  the  community. So  I  think  what  speaks  really highly  to  students  here  at  Georgia  Tech is  when  I  asked  them  how  they wanted  to  set  up  our  final  review  for  the  semester, Um,  they  said  that they  wanted  to  present  to  the  community. You  know,  weren't  they  didn't  want  to  have  just  like a  handful  of  professors  talk to  them  in  front  of  a  board  here  in  Atlanta. But  they  wanted  to  actually  be  there  and  talk  to  people, get  feedback  from  people. And  we  had  about  50  attend  their  final  review, and  they  were  able  to  ask  questions. They  got  grilled  pretty  well. So  the  community  gave  them  a  good  review. And  they  were  able  to,  I  think,  get some  interesting  ideas  for  what could  happen  and  maybe  what  some of  the  opportunities  were  for  that  specific  spot. Um,  this  will  be  the  final  project  that  I'll  show. I'll  go  through  relatively  quickly. But  this  has  been  one  that's  been  an  ongoing  project. We're  getting  at  the  60th  anniversary now  of  the  Selma  to  Montgomery  Marches. Before  coming  to  Tech,  I  was  at  Auburn  University, so  I  wasn't  too  far  away  from  Selma, and  that's  where  some  of  the  work  started and  has  really  continued  and expanded  to  try  to  visualize what  happened  in  Selma  with  those  marches. Um  and  how  it  was  affecting  all  ages. So  again,  really  amazing  archival  material. And  then  trying  to  help  reset  maybe a  community  or  cultural  perception  of what  the  solemn  marches  were  and  where  they  were. So  a  lot  of  people  fixate  on  the  bridge, the  Edmund  Pettis  Bridge. So  it's  named  after  a  Ku Klux  Klan  Grand  Dragon  for  Alabama, who  also  went  on  to  be  a  senator  for  Alabama. And  it  was  named  that  in  1940. So  this  is  not  like  this  was named  right  after  the  Confederacy. This  is  a  bridge  from  started  in  1938. But  the  actual  conflict  of Bloody  Sunday  happened  down  here. So  March  7,  1965, where  about  600  peaceful  marchers led  in  part  by  John  Lewis, who  were  seen  in  the  tan  trenchcoat, Hosea  Williams  in  the  front are  attacked  by  Alabama  state  troopers. Um,  we  have  the  logbook  of who  was  impacted  by that  and  who  went  to  Good  Samaritan  Hospital. So,  for  example,  John  Lewis received  a  fractured  skull  and  a  concussion, which  is  called  out  in  this  logbook. We've  digitized  this. And  the  youngest  member  of  the  March  was  10-years-old, who  was  treated  for  injuries. And  you  can  see  Louis,  this  was his  last  crossing  on  the  bridge. Um,  but  it's  a  place  where  there's  maybe disproportionate  attention  given  to  the  bridge and  not  to  the  area  where  the  conflict  actually  happened. And  so  we've  been applying  elements  of,  like,  conflict  archaeology, which  people  would  typically  use  for,  like, a  civil  war  battlefield  or a  World  War  two  battle  to actually  understand  what  happened  where. And  so  part  of  it's  been  kind  of  understanding the  bridge's  evolution  and  changing  from this  Milwaukee  Built  bridge  to  the  one  that  was later  constructed  by  a  Selma  born  engineer named  Henson  K  Stevenson. Structurally,  it's  a  really  interesting  bridge. Um  and  interesting,  when  we  went  through  the  drawings, it's  only  named  the  Edmund  Pettis  Bridge  and  one  drawing. The  rest  of  them  are  called  the  Alabama  River  Bridge, which  I  would  like  to  assert, from  the  engineer's  perspective, was  maybe  a  way  of  not  associating  that  name, and  it  was  a  governor's  order to  name  it  the  EdmundPettis  Bridge, so  you  can  see  them  welding  on  the  bronze  letters  here. But  you  can  see  the  name  Alabama  River  Bridge. So  we've  done  really  intense  documentation  of  the  site. Anybody  who  knows  anything  about  three  D  scanning  knows this  was  not  a  really  easy  project  bridges. We  want  bridges  to  move. We  can't  just  stop  traffic  as  well. We  did  some  things.  We  scanned this  site  a  lot  at  like  three  in  the  morning because  that  was  the  easiest  time  and  then  color mapped  it  with  some  daytime  scans and  aerial  photogrammetry, but  got  a  really  accurate  model. We're  able  to  do  as  built  images  of  it, found  some  pretty  interesting  discrepancies between  the  drawings  and  what  was built.  We  won't  talk  about  that. I  still  drive  over  the  bridge,  I'll  say  that  much. But  we  did  what's  called  a  hair  submission. So  just  like  Habs,  his  historic  American  Building  survey. We  did  historic  American  Architectural  record. So  this  is  basically  for bridges  and  tunnels  and  things  like  that. So  we  did  a  hair  record  for  this. So  if  you  look  it  up,  if  you  look  up Edmund  Pettus  Bridge,  you'll  find  this. And  you  can  look  through  all  the  drawings and  kind  of  data  studies  of  this  project. And  then  we  worked  on  a  really extensive  historic  structure  report for  the  building  or  for  the  bridge, which  will  hopefully  get  released  to  the  public. We're  waiting  for  the  green  light on  that  from  the  National  Park  Service, but  it's  gone  under  review  with  them, and  they  kind  of surprisingly  allowed  us  to  add  some  history  in  there, which  I  thought  might  get  redacted, for  an  example,  the  fact  that Pettis  was  tied  to  the  Confederacy, tied  to  the  Alabama  KKK  is  not mentioned  in  the  national  historic landmark  designation  for  the  bridge, which  seems  to  be  a  pretty  significant  oversight. And  within  the  conflict  archaeology, it's  kind  of  coming  up  with  this  map of  where  did  everything  happen? And,  where  was  the  tear  gas  deployed? Where  were  the  marchers  attacked? Where  were  they  kind  of distributed?  Where  were  people  running? Where  were  the  news  cameras purposely  placed  by  the  troopers? So  they  didn't  get  certain  angles  of  the  attack. Because  they  were  kind  of  choreographed  by  the  troopers. And  there's  a  reason  why  if  you  look up  if  you  look  up  Salma  and  Bloody  Sunday, you're  going  to  see  the  same  five  photographs  over and  over  again  because  that's  what's  been  released. And  we  had  to  go  through  a  huge  series  of  FOIA  requests. So  Freedom  of  Information  Act requests  to  have  photographs  released. And  so,  over  the  last  years, more  than  like  six  years, we've  been  doing  that  very  incrementally. It  takes  different  amounts  of  time. Sometimes  they  get  approved,  sometimes  they  don't. But  we've  been  able  to  collect a  couple  hundred  photographs that  have  never  been  released  to  the  public, and  our  request  then means  it's  available  to  everybody  else. So  basically,  once  we're  able  to  get  that  published, it  should  be  available  to  everyone  else  through the  National  Archives  and  Records  Administration. We  were  able  to  showcase  some  of  this  work  at  Accelerate, which  is  a  showcase  that  happens  with  all  ACC  schools. The  last  one  was  2022. I  don't  know  what's  going  on. They're  sort  of  off  cycle  now. There  should  have  been  one.  It's  usually  every  two  years. But  if  you're  curious,  you  can  use  the  QR  code. It'll  take  it  into  a  digitized  version of  our  exhibit  that shows  the  projection  mapping  that  we did  and  huge  thanks  to  Noah  helping  us  out  with  that. We  did  a  VR  experience  that kind  of  took  you  through  the  site  as well  to  understand  how  this  started  in Marion  and  then  move  to Selma  and  then  eventually  to  Montgomery. Um,  and  had  a  really  great  opportunity for  students  to  kind  of  tell  the  story, and  we  received  the  sort of  the  public  outreach  award  for  that  event. So  it  was  a  crowd  sourced  or crowd  voted  award,  which  was  exciting. And  the  last  thing  I  just  want  to  finish  with  is just  the  recent  news  that the  National  Archivist  was  fired. And  this  matters,  right?  A  lot of  the  work  that  we  do,  as  you  can  see, we  work  a  lot  with  archival  documents, whether  they're  maps,  their  photographs, their  letters,  their  reports. These  are  all  things  that  are  accessible  because  of the  National  Archives  records  and  administration. Sometimes  we  have  to  go  through FOIA  requests  to  get  these. But  their  access  is  really  invaluable to  researchers  to  telling  the  full  American  story, to  representing  what  our  history is  and  what  our  future  could  look  like. So  I'd  encourage  you  to  pay attention  to  what's  going  on  here, because  the  National  Archivist  is  also responsible  for  what  federal  items  can  be  destroyed. So  this  is  something  that  is  really  impacting,  you  know, not  just  architectural  history, not  just  the  humanities. It's  science.  It's  anything  that's  tied  to a  federal  report.  So  I  think  this  is  an  era. If  we  talk  about  erasure, when  we  see  that  there's  a  potential for  erasure  in  the  moment, we  really  have  to  be  aware  of it  and  understand  what  this  means  at  a  federal  level. So  I'd  encourage  all  of  you  to  really  stay engaged  and  to  be aware  and  kind  of  make  your  voices heard  of  what's  going  on. But  if  you  have  questions, I'm  very  welcome  those  now, and  thank  you  for  your  attention. Yeah. Yeah,  I  mean,  I  think  a  lot  of it's  we  do  have  some  federal  funding  for  things, but  a  lot  of  it  is  grassroots, and  I  think  the  benefit  of  being  also  at  an  institution. I  think  that's  where  some  of  our  outreach and  research  happens. We  might  need  to  change  some  of  our  language, but  I  don't  think  that  changes our  actions  and  our  intentions. Yeah.  So  yeah,  that's  a  good  question. I  think  it's  one  where,  you  know, we  kind  of  go  back  to  this  was over  voting  rights  in  1965,  and,  you  know, there  was  a  big  push  one  of the  biggest  marches  prior  to  the  March to  Bloody  Sunday  March  was a  student  walkout  of elementary  and  middle  school  students  in  Salma, that  really  got  things  riled up  and  got  Snick  to  pay  attention, the  student  nonviolent  coordinating commitee  to  say,  like,  Alright, there  are  like  nine through  13  year  olds  who  are  doing  something. And  what  do  we  do? So  there  was  a  lot  of  grassroots  movement, especially  from  younger  younger  parties. Yeah.  Yeah,  Atlanta. No,  Atlanta's  got  a  lot  of  stories. Yeah.  Yeah.  Yeah.  Well,  and  also, I  think  the  National  Archives  note, we  have  a  National  Archives  ranch  here  in  Atlanta. Like,  this  is  a  local  It's  national  concern, but  it's  a  local  concern  as  well.  Yeah. Any  other  questions?  Yeah.  Um,  wonderful  talk. Really  cool  to  see  all  I know  some  of  the  stuff  you're  working  on. Yeah,  see  the  body  of  it. Um,  I  was  wondering  with the  Woods  surveying  stuff in  particular  the  hurricane  for  recently. Yeah.  Lots  of  structural  damage. Has  that  L  has  there  been  any  connection  between  that? I'm  like,  Oh,  now  we  can  look  inside. Yeah,  I  mean,  unfortunately,  like, it  is  opportunities  to  capture things  and  capture  sort  of  damage  in  place. There  was  a  lot  of  stuff  in  Brunswick  that  I  got this  summer  that  was  I  want  to  say  useful, but  it  was  good  data  to  collect. But  that's  where  we  hope  something  like  this  could  be deployed  for  emergency  response  that you  could  go  in  and  could  you  have  this  app  that if  you  can't  deploy  a  um  you  know, an  expert  in  that  area  for  all  different  reasons. They  can't  get  there.  It's  not  safe. We  can  start  to  send  up  drones and  have  some  things  that  can  flag  automatically. Well,  here's  the  places  we  need  to  triage  first. Here  are  some  key  elements. So  I  think  that's  the  hope  is,  like, how  can  we  make  this  smarter  and  safer?  But  also, On  the  flip  side  just  for,  like,  a  homeowner,  like, cheaper  and  easier  to  keep  your  house  maintained. And  then  I  think  that's  the  biggest  thing  with,  like, adaptive  reuse  is  people  always say,  like,  What's  too  expensive. You're  like,  Well,  what  if  we can  not  make  it  so  scary  and expensive  that  we  make  it  easier  to  interface  with  this. And  frankly,  like,  a  nice  wooden  siding is  a  later  than  your  plastic  house. So  it's  gonna  work out  if  you  take  care  of  it.  Yeah.  Yeah. This  might  be  more,  like,  opinion  based. But  when  it  comes  to,  like, restoration,  at  what  point,  like, is  it  not  overly  restored, but  so  restored  that  it's  not  considered, like,  the  historic  artifact. Like,  you  lose  your  character.  Yeah.  So  we have  the  federal  definitions  of  that, our  four  key  elements  of  what  we  consider  preservation, restoration,  rehabilitation,  and  then  essentially, like,  a  separate  category,  right? Yeah.  Um,  and  I  would  say, strangely,  like  in  the  US, we  are  probably  the  most  conservative  in  terms  of,  like, architectural  intervention  and  historic  structures, even  though  we  probably  have  one  of the  youngest  countries,  right? So  it's  very  interesting  conundrum where  we'll  have  places  that  have  ancient  sites, and  they're  much  more  eager  to  engage  with  them  and  have, like,  a  dialogue  with  that  historical  artifact. And  I  think  be  very  respectful  to  the  original  thing, but  then  it's  not  frozen. You  know,  it's  useful. You  just  have  to  rock  around  Rome  to  get  that  sense. And  so  I  think  we  could  be  a  little  bit  more responsive  in  sort  of  our  language  of  that. But  yeah,  I  mean,  there  are  questions. I  think  we  have  to  leave  signatures  of, like,  what  was  there. I  think  we  have  to  be  very  clear within  our  storytelling,  too. I  think  that's  the  problem  of  where  we  get  really blurry  when  things  like  Colonial  Williamsburg. You're  like,  That  is  not  Williamsburg. That's  like  Rockefeller's  version of  what  Williamsburg  was. So  I  think  we  have  to  be  very clear  of,  like,  what  you're  looking  at  and  why. Yeah. Say  that  first  part  again, how  what  sounds  are  Oh,  yeah. Yeah,  I  mean,  that  side  of, like,  reality  capture  is  really  hard. I  feel  like  we  don't  really  have  that. We're  not  there  yet. I  saw  there  was  an  interesting  museum in  we  were  down  in  the  Dominican  Republic  for  some  work, and  they  had  done,  like, it  was  a  maritime  museum  and  what the  ship  smelled  like  in  different  places. I  feel  like  that  was  super  evocative. And  so,  yeah,  how  do  we  tap  into  that?  I'm  not  sure. We  could  have  tags  in  an  HBM  model, but  then  how  do  we  actually have  something  that's  a  little  bit  more? Experiential.  I  don't  know. I  think  it's  a  good  question. Yeah.  I  will  say,  though,  when  we've  done,  like, the  VR  for  Selma, and  it's  a  short  clip,  but  it  kind  of  takes  you  through Marian  where  Jimmy  Lee  Jackson  was  shot. We  have  a  warning  at  the  beginning you're  going  to  hear  gunshots.  It's  totally  black. But  you  sort  of  hearts  atmospheric  sounds, which  actually  from  the  original  audio  recording because  there  was  police recordings  of  what  happened  that  night. And  we  told  people,  like,  that's  happening,  be  aware. And  I  would  say,  people  had  very, like,  visceral  reactions  to  that. I  don't  know  if  anybody  here  has  gone  to the  National  Museum  of  Human  and  Civil  Rights, and  they  have  the  sit  in table  where  you  can  kind  of  put  your  hands  on  and you  feel  the  tableshake  and your  chair  shake  and  people  shouting  in  your  ear. So  I  think  those  kind  of experiences  are  really  important  to kind  of  wake  people  up  to  elements  in  advocacy. So  if  we  can  bake  those  into  the  process, I  think  that  would  be  really  effective. Yeah. Cool.  Thank  you.  Thank  you. Yeah.  Alright  Thanks,  everybody  Have  a  good  day.