Hongye Wang Graduate Portfolio

HONGYE WANG PORTFOLIO

Selected works from Historic Preservation program & professional experiences

Made by Hongye Wang, last updated April 1st, 2023 hw2845@columbia.edu | +1 917 754 6966 Columbia University Graduate School of Architecture, Planning, and Preservation

CONTENTS SELECTED WORKS FROM HISTORIC PRESERVATION PROGRAM 01 Measuring & Drawing | Louis K. Ungrich Mausoleum

3 3

02 Historic Context Research & Proposal | Breaking the Cycle 6 03 3D Scanning & Condition Assessment | Avery Hall 8 04 Adaptive Reuse | Climate Adaptation of Venice’s Green Theater 10 05 Geo-Spatial Analysis & Mapping | Quantifying Wildfire Risk for Historic Structures & NYC Based Data Analysis 14

SELECTED WORKS FROM PROFESSIONAL EXPERIENCE 06 Architectural Renderings | Adaptive Reuse of Industrial Heritage in Beijing

16 16

07 Historic Research & Writing Sample | Hart Crane Residence at 45 Grove Street 18 08 Report Compilation | Environmental & Social Justice in Harlem

OTHER WORKS

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22

09 Undergraduate Thesis | World Heritage, Social Media, & Landscape Identity

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10 Architecture & Landscape Design | Selected Works

24

11 Arts | Landscape Allegories

27

2 | CONTENTS

01 Measuring & Drawing | Louis K. Ungrich Mausoleum GRANITE

77

7'-5''

15'-4''

5'-2 1/2'' 13 214243 114 114 1043 4343 612 10 2

25

WATER DAMAGE

BRONZE DOOR

20

2'-8''

4

5

WATER DAMAGE

BIOLOGICAL GROWTH

812

GRANITE REPAIR WORK

Ungrich Mausoleum at Woodlawn Cemetery

GRANITE BRONZE DOOR WATER DAMAGE BIOLOGICAL GROWTH GRANITE REPAIR WORK

Front (South) Facade FRONT FACADE LOUIS K. UNGRICH

COLUMBIA GSAPP HP FALL 2021

DATE 10.11 2021 SCALE 3/4" = 1'-0"

N

STUDIO 1: ANDREW DOLKART, CLAUDIA KAVENAGH, KATE REGGEV

BRONZE FRAME

ITALIAN MARBLE (POLISHED)

LICHEN

STAINED GLASS

ITALIAN MARBLE (ROUGH FINISH)

BRONZE DOOR

GRANITE

LICHEN

GRANITE

Louis K. Ungrich Mausoleum

PATCHED GRANITE

A

TRACES OF BIOLOGICAL GROWTH

1'-1''

2'-9''

1'-5''

111 4

814''

''

4'18''

1'-1''

12'-0''

The interior is a symmetrical rectangle within which eight catacombs are placed, with four on each side. The entire interior is finished in lightveined Italian marble, with all exposed surfaces highly polished, with the exception of the rough-

1714

1'-5''

2'-9''

5'-2'' 3243

1'-5''

814''

14'-6''

1'-1''

3'-1''

3'-4''

10'-0''

2712

1'-1''

1214

1'-1''

3'-1''

B 4'-11''

B 2'-412''

4'18''

1714 3243

R 7.5

5'-2''

12'-0''

14'-6''

The Ungrich family mausoleum is a typical Doric temple-style structure designed by the C.E. Tayntor Granite Company in 1912.

The siting, location, and landscape design of the mausoleum suggest a great deal of consideration in design to emphasize a picturesque view.

1'-5''

MARBLE BENCH

A

1914

10214

3512 2021 4

1143

1512

1814

43

29

43

29

27414

Floor Plan COLUMBIA GSAPP HP FALL 2021 STUDIO 1: ANDREW DOLKART, CLAUDIA KAVENAGH, KATE REGGEV

FLOOR PLAN LOUIS K. UNGRICH

DATE 10.11 2021 SCALE 3/4" = 1'-0"

MEASURING & DRAWING | 3

414

01 Measuring & Drawing | Louis K. Ungrich Mausoleum

16743 14712 1243

3843

2012

3843

1243

412

A

A

N

343

612

GRANITE

MARBLE SPANDREL

2'-2''

1543

5'-2 1/2''

112 1 52

1

10 2012

2712

412

11 521 2

343

10

CRACK

15'-4''

2'-2''

714

914

3143

35

STAINED GLASS

2'-2''

76

7'-5''

BRONZE FRAME

COPPER URN

2'-2''

ITALIAN MARBLE (POLISHED) GRANITE

2'9''

3

1

2414

3212

2'-8''

6

ITALIAN MARBLE (ROUGH FINISH)

A-A Section A-A SECTION LOUIS K. UNGRICH

STUDIO 1: ANDREW DOLKART, CLAUDIA KAVENAGH, KATE REGGEV

DATE 10.11 2021

11 22

COLUMBIA GSAPP HP FALL 2021

SCALE 3/4" = 1'-0"

13 24

BRONZE FRAME

MARBLE (POLISHED)

STAINED GLASS

MARBLE (ROUGH FINISH) MARBLE (ROUGH FINISH)

614

1

8

1

643

31 42

3''=1'-0" StainedScale Glass Detail

Glass Window

GRANITE GRANITE DAMAGE FROST-THAW CYCLE

B

Scale 1:5

1143

N

114 1043

114

MARGARET U.G. CUKOR

AUGUST 7, 1914-JANUARY 8,1993

STUDIO 1: ANDREW DOLKART, CLAUDIA KAVENAGH, KATE REGGEV

ETTA UNGRICH TRIPLETT

1851 2

5743

5743

1851 2

1892-1981

8912

MARGARET E. UNGRICH

21 4

81

FEBRARY 13, 1860-FEBRARY 7. 1924

finished floor. The stained glass window on the north side depicts the story of Christ and Mary of Bethany. The latter is venerated in Lutheranism, indicating Ungrich’s German origin and his religious beliefs.

COLUMBIA GSAPP HP FALL 2021

B

843

101 2

2443

1243

143

51 4

6312

191 4

39

38

1412

Door

543 912

543

3043

3212

543

543

64

3114

Today, 109 years after its completion, the mausoleum remains in fine condition compared to the surrounding mausoleums. Traces on the mausoleum indicate that great care has been given to the building, such as the exterior granite being clean after a wash. Still, there are several

B-B Section

COLUMBIA GSAPP HP FALL 2021 STUDIO 1: ANDREW DOLKART, CLAUDIA KAVENAGH, KATE REGGEV

4 | MESAURING & DRAWING

B-B SECTION LOUIS K. UNGRICH

DATE 10.11 2021 SCALE 3/4" = 1'-0"

DETAILS LOUIS K. UNGRICH

01 Measuring & Drawing | Louis K. Ungrich Mausoleum BRONZE FRAME

MARBLE (POLISHED) MARBLE (ROUGH FINISH)

GRANITE BRONZE FRAME

MARBLE (POLISHED) MARBLE (ROUGH FINISH)

27 814

612

1212 27

143 3 2534

1 81 11 44 1281212 2214

812 18143 76

77 77

4 6 812 4 20 812

ELEVATIONS LOUIS K. UNGRICH

COLUMBIA GSAPP HP FALL 2021 STUDIO 1: ANDREW DOLKART, CLAUDIA KAVENAGH, KATE REGGEV

DATE 10.11 2021 SCALE 3/4" = 1'-0"

ELEVATIONS LOUIS K. UNGRICH

COLUMBIA GSAPP HP FALL 2021 STUDIO 1: ANDREW DOLKART, CLAUDIA KAVENAGH, KATE REGGEV

Damaged Mortar

Original Mortar (Lefarge Cement)

20

221 4

20 20 812

2'-8''

812 4

5

2'-8''

4

5

6

22 22141 4

76

11 22 22 44

18143

7'-5'' 15'-4'' 7'-5''

2214

15'-4''

3 1 21 4 24 14 2

10

1114

114

5'-2 1/2''

3 13 1 21 4 234 1144 33 61 14 10 4 2 410 2

1043

5'-2 1/2''

25

GRANITE

Crack

Water Damage

Granite Repair

visible material issues on the surface, as listed below: 1) Biological growth on the base granite and interior marble.

2) Damaged front stairs patched with different colors of granite.

3) Water leakage causing material deterioration on the cornice at the west side.

4) Joint at the roof on the north side has lost its mortar, causing a wide opening.

5) Surface of the original Lafarge cement mortar is falling apart and was repaired in a light color with a more refined granule alternative.

Traces of water leakage on the marble surface of catacombs in the interior.

DATE 10.11 2021 SCALE 3/4" = 1'-0"

Biological Growth

Biological Growth

Repair Work Mortar

The repair work on the Ungrich mausoleum uses different filing materials, making the traces of damage easily identifiable. Despite this, the strong Doric temple still sits steadily on Park Avenue, contributing to Woodlawn Cemetery’s incredible scenery.

MEASURING & DRAWING | 5

Historic Context Research & Proposal | Breaking the Cycle

6

Historic Context Research & Proposal | Breaking the Cycle

Breaking the Cycle Harlem experienced initial inequities in energy resources at the beginning of the twentieth century due to the slow expansion of electricity and the absence of a district heating system. These initial inequities were repeated over time, leading to slow changes in fuel sources. As Harlem enters a new phase of energy transition to renewable resources, some of the mistakes of previous energy transitions are being repeated.

This proposal aims to create an interactive experience for the community to connect with the history of Harlem’s energy sources, while also providing resources for a new sustainable future. To accomplish this, the project includes two pieces: an adaptable exhibition for both indoor and outdoor community spaces, and a website (pictured on the left) that connects those with agency in the built environment to resources for transitioning to renewable energy.

The renderings demonstrate how the installation can fit in outdoor spaces.

The modules provide a tactile experience to supplement historic images and

exhibition text, bringing visitors much closer to the obsolete or unseen infrastructure associated with energy. Adapting the exhibit to the outdoors is important because many former energy sites have been converted to public spaces, creating further opportunities for public participation and bringing invisible energy history into public space where anyone can stumble upon the information.

HISTORIC CONTEXT RESEARCH & PROPOSAL | 7

3D Scanning & Condition Assessment | Avery Hall

West Facade

North & West Facade

Digitalization & Condition Assessment This project was developed during a summer workshop at GSAPP in 2022. The methodological framework for this project is twofold: first, to test the potential utility of creating a 3D visualization of Avery Hall’s exterior, which would enable heritage conservators to better visualize the condition of the building’s facade; and secondly, to use these observations to build a more robust comprehension of the possible environmental stressors that have contributed to the deterioration patterns on the building.

The digitization technologies mainly used include Faro laser scanning, photogrammetry, and post-processing software such as Faro Scene and Reality Capture. It is observed that the soiling pattern is primarily distributed on the North facade.

East Facade 8 | 3D SCANNING & CONDITION ASSESSMENT

3D Scanning & Condition Assessment | Avery Hall

XRF & Testing Result on Different Facades

Portable XRF (x-ray fluorescence) provides additional information. The XRF data of two spots with different levels of blackness show a difference in their chemical compositions. Soiling on limestone can be an indicator of air pollution.

The main component Calcium carbonate (CaCO3) in limestone reacts with Sulfur dioxide (SO2) in the air and acid rain, which creates a gypsum layer on the surface of limestone. Gypsum is soluble in water, and soiling is usually more prevalent in areas where water doesn’t have easy access due to the shape of the stones and building design.

Spalling and Flaking on Limestone

Biological Growth on Different Facades

Indications of spalling and flaking, possibly due to efflorescence, are present on the South facade.

Efflorescence occurs when there is moisture contact with the material, leading to the growth of crystals and resulting in damage such as spalling and flaking. This photomicrograph shows the removal of different layers and the uneven texture caused by this process.

Although the West facade of Avery Hall receives sunlight, the backside of the columns do not, leading to the development of biological growth in shaded and moist areas. This photomicrograph shows that dust gravitates towards the area of biological growth, primarily where the limestone is moist and located in shaded and moist areas of the columns on the West facade of Avery Hall.

3D SCANNING & CONDITION ASSESSMENT | 9

04 Adaptive Reuse | Climate Adaptation of Venice’s Green Theater

Teatro Verde & Climate Change Teatro Verde (Green Theater) was designed by Luigi Vietti in 1954 on the island of San Giorgio Maggiore in Venice. The theater has become outdated since the last performance in the late 1980s. Recently, climate change is also posing serious threats to the continued use of the Teatro Verde. Wind, rain, heatwave, and hail storms have caused severe damage to the site and rendered the site unusable.

In response to these challenges, this project envisions how preservation interventions could revitalize the site and more importantly, connected it to the past.

Social Condition & Material Condition From 1950s to 1970s the amphitheater had its golden time during which operas and music events were held here. In 1975, all kinds of performances were interrupted due to the high costs of maintenance. In 2021, the theater underwent a major restoration project initiated by Cini Foundation, an international cultural organization that focuses on restoring the island. Except for the social factors, environmental factors such as rain, high tide, and landscapes on the site also contribute to the material degradation. Gradually this site becomes obsolete.

10 | ADAPTIVE REUSE

04 Adaptive Reuse | Climate Adaptation of Venice’s Green Theater

ADAPTIVE REUSE | 11

04 Adaptive Reuse | Climate Adaptation of Venice’s Green Theater

Exhibition Area

Unachiving the Past

Renderings of Ourdoor Exhibition 12 | ADAPTIVE REUSE

The island and the theater has a long history of performance and costume. To revitalize the site, it is crucial to enact the past by unpacking the cultural heritages and register them in the physical environment. This project hopes to translate and represent the history onto where it happened as opposed to the conventional archive that preserve heritage in texts, images, and objects.

04 Adaptive Reuse | Climate Adaptation of Venice’s Green Theater

Historic Property As Knowledge Transmission Object The project effectively demonstrates how the concept of historic property, encompassing both buildings and objects, can convey history through design. One such example is the adaptive reuse of the building, serving as both a coat-checking place for the theater and a historic costume display space. By seamlessly integrating contemporary functionality with the historic fabric, the design not only accentuates the past but also ensures a sustainable future for this once outdated site.

ADAPTIVE REUSE | 13

05 Geo-Spatial Analysis & Mapping | Quantifying Wildfire Risk for Historic Structures & NYC Based Data Analysis

Fire Risk in Historic Districts

14 | GEO-SPATIAL ANALYSIS & MAPPING

Fire Risk of Individual Landmarks

Zoom-in Maps in New Mexico, San Miguel, and Las Vegas County Nugyel

05 Geo-Spatial Analysis & Mapping | Quantifying Wildfire Risk for Historic Structures & NYC Based Data Analysis

SITE SUITABILITY ANALYSIS NEW BRANCH OF PUBLIC LIBRARY IN QUEENS

N

2 Miles

Residential units per acre within a half mile search radius Legend

Distance from the existing library Legend

QNS_borough

DL1_LibraryDistanc

1

QNS_borough

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QNS_borough

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DL2_ResDensity

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DL3_NoHSdiploma

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Value

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DL1_LibraryDistanc Value

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QNS_borough

DL2_ResDensity Value

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Legend QNS_borough

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DL5_ForeignBorn

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Legend Legend Legend United States Census Bureau. “2013 TIGER/LineDL5_ForeignBorn Shapefiles.“ 16 August, 2013 DL6_ESL United States Census Bureau. “Selected Characteristics of the Total and Native Populations in the United States: Table S0601.” 6 December 2018.

New York City Department of Information Technology & Telecommunications. “Library,“ 2018

DL4_Under18

2

DL6_ESL

5

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Percentage of population speak English Legend “less than very well“ QNS_borough

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Percentage of population born Legend outside of US

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Low Score

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Percentage of population without highschool diploma Legend

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Mapped by Hongye Wang, November 2022

Geo-Spatial Analysis in Historic Preservation Legend

I have extensive experiences in data analysis and visualization. After taking the GIS class QNS_borough 20.001are - 23acquired from the Urban Planning program at GSAPP, I am now familiar with how datasets DM_Weighted - 26historic QNSonly_PLUTO_perNTA from government agencies in the US, specifically in the context of New York23.001 City. For Value 26.001 - 28 of wildfire preservation specifically, the first project in this section seeks to use the new dataset DM_Vacant_Weight 6.001 - 12 28.001 risk from the First Street Foundation to identify specific structures (both individual- 31 landmarks and Value 12.001 - 14 31.001 - 34 historic districts) that are most at risk of wildfire.

40 8

14.001 - 17 17.001 - 20

34.001 - 40

Boroughs_2016

GEO-SPATIAL ANALYSIS & MAPPING | 15

06 Architectural Renderings | Adaptive Reuse of Industrial Heritage in Beijing Adaptive Reuse of Industrial Heritage in Beijing I possess extensive experience working at architecture and landscape architecture firms. One of the projects I worked on involved historic preservation, specifically the adaptive reuse of industrial heritage in Beijing. This massive project was commissioned by the government to transform the Shougang industrial zones, constructed in 1919, into a community complex and public park. Finally, the renderings were submitted to government agencies and architectural competitions.

Renderings on multiple scales 16 | ARCHITECTURAL RENDERINGS

06 Architectural Renderings | Adaptive Reuse of Industrial Heritage in Beijing

Prototypes of converting the steel structure into paths

In addition to renderings, designing the conceptual prototypes of specific area such as sidewalks, parks, and interior spaces were also part of the duty.

Renderings of the converted industrial structures ARCHITECTURAL RENDERINGS | 17

07 Historic Research & Writing Sample | Hart Crane Residence at 45 Grove Street From June to November 1923 and January to February 1924, Crane lived at 45 Grove Street, which he considered to be a writing sanctuary. Another tenant in the building at this time was the drama critic Stark Young. While living here, Crane continued working on The Bridge and discussed the project in letters to his mother and close friends. At 45 Grove Street, Crane finished an early draft of “Atlantis,” which would become the final section of The Bridge. From contemporaneous correspondence it appears that this was among the happiest periods in his life. In his large, second-floor room, he wrote: OVERVIEW Posthumously considered an influential figure in modernist poetry, Hart Crane lived at 45 Grove Street during two separate stints in 1923 and 1924.

“…I am all fixed up in my own room and as happy as a bug in a rug! … I have a fine large table to write on. When my luck turned it seemed to turn equally favorably in every direction.”

Hart Crane, letter to Charlotte and Richard Rychtarik, June 5, 1923

During this short but important period, he started on the first draft of his ambitious long poem, The Bridge, which is not only an epochal investigation of the American experience but also a mirror of the cultural and historical conditions of gay life.

HISTORY Hart Crane (1899-1932), born in Garrettsville and raised in Cleveland, Ohio, moved to New York City at the age of 18 in 1917. Even though only a small portion of his life was spent in the city, it offered him a sanctuary as a poet, inspired his imagination, influenced his poetry, and, as his biographer Clive Fisher has noted, “introduced him to the idea of metropolitan literary culture.”

“The city is ablaze with life … the avenues sparkle and money seems to just roll in the gutters. I am looking on it all with different, keener eyes than ever before.”

Hart Crane, letter to Grace Crane, February 22, 1919 In his early years in the city, from January 1917 to November 1919, Crane was struggling financially while working in advertising for several publications. He worked at the Little Review and lived above its office at 24 West 16th Street. In January 1923, during a trip back to Cleveland, Crane conceived the idea of The Bridge (1930), which would become his most ambitious work. He described it as “a mystical synthesis of ‘America.’”

18 | HISTORIC RESEARCH & WRITING SAMPLE

45 Grove Street

07 Historic Research & Writing Sample | Hart Crane Residence at 45 Grove Street In the summer of 1923, when living at 45 Grove Street, Crane also composed short poems about his personal life cruising for sex. He channeled his worries and gratification into obscure verses that he later summarized as “the imponderable phenomena of psychic motives.” Possessions, from September 1923, has a metaphorical narrative with subtle homosexual undertones: Accumulate such moments to an hour: Account the total of this trembling tabulation.

I know the screen, the distant flying taps And stabbing medley that sways — Rounding behind to press and grind, And the mercy, feminine, that stays As though prepared.

Crane moved often throughout his short life, including elsewhere in the Village: 6 Minetta Lane, the Hotel Albert at 23 East 10th Street, and 15 Van Nest Place (now 15 Charles Street). In April 1924, Crane moved to 110 Columbia Heights (demolished) in Brooklyn, which was the house of his lover Emil Opffer’s father. From a window there, Crane could see the Brooklyn Bridge, the subject of The Bridge. By this time, he finished Voyages (1923), a poem dedicated to Opffer, and the first draft of The Bridge, which was published in 1930. After this time, Crane’s residences in the city included 77 Willow Street, 130 Columbia Heights (demolished), and 190 Columbia Heights, all in Brooklyn.

Left: Hart Crane on the roof at 110 Columbia Heights, Brooklyn, 1924.

Right: Cover of the first edition of The Bridge (1930).

In the last years of his life, Crane went into a personal, economic, and creative decline. As a result, in 1932, during his travels in Mexico on a Guggenheim Fellowship, Crane committed suicide by jumping into the Gulf of Mexico at the age of 33.

Clive Fisher, Hart Crane: A Life (New Haven, CT: Yale University Press, 2002). [source of Fisher quote]

In the 1930s and 1940s, Crane was considered a failed Romantic poet. However, his work was rediscovered by academics of modernist poetry in the 1960s as well as queer theorists, such as Tim Dean, in the 1980s. As a result, Crane is now considered an exceptional poet who reflected the cultural and historical conditions of queer life in his work. In Hart Crane’s Queer Modernist Aesthetic (2015), author Niall Munro notes, “Hart Crane created an alternative form of literary modernism, queering modernist experience. It goes beyond representations of sexuality in the texts to show how Crane employs queerness as an intellectual strategy in order to engage with and interrogate a number of modernist concerns.”

For more published writing samples, please refer to the link.

Source Brom Weber, ed., The Letters of Hart Crane, 1916-1932 (Berkeley, CA: University of California Press, 1965).

“Hart Crane Papers: 1909-1937,” Archival Materials, Box 13-17, Butler Library, Columbia University.

“Hart Crane,” Poetry Foundation, May 7, 2019, bit.ly/3BImaAs. Lawrence Kramer, ed., Hart Crane’s The Bridge: An Annotated Edition (New York, NY: Fordham University Press, 2011).

Niall Munro, Hart Crane’s Queer Modernist Aesthetic (New York, NY: Palgrave Macmillan, 2015). [source of Munro quote] Warner Berthoff, Hart Crane, A Re-Introduction (Minneapolis: University of Minnesota Press, 1989).

HISTORIC RESEARCH & WRITING SAMPLE | 19

08 Report Compilation | Environmental & Social Justice in Harlem Report Compiling & Editing As a departmental research assistant, one of my duties was to edit, design, and compile a 300-page studio report. I have extensive organizational skills, both in managing a large amount of information and coordinating contributors.

For the complete report, please access through the link.

20 | REPORT COMPILATION

08 Report Compilation | Environmental & Social Justice in Harlem

REPORT COMPILATION | 21

09 Undergraduate Thesis | World Heritage, Social Media, & Landscape Identity

22 | UNDERGRADUATE THESIS

09 Undergraduate Thesis | World Heritage, Social Media, & Landscape Identity Critical Heritage Studies: World Heritage, Social Media, & Landscape Identity As a departmental research assistant, one of my duties was to edit, design, and compile a 300-page studio report. I have extensive organizational skills, both in managing a large amount of information and coordinating contributors.

UNDERGRADUATE THESIS | 23

10 Architecture & Landscape Design | Selected Works

24 | ARCHITECTURE & LANDSCAPE DESIGN

10 Architecture & Landscape Design | Selected Works

ARCHITECTURE & LANDSCAPE DESIGN | 25

10 Architecture & Landscape Design | Selected Works

26 | ARCHITECTURE & LANDSCAPE DESIGN

11 Arts | Landscape Allegories

Arititotle, Mimesis, and Babel

Heritage & Social Media

Light City

Aristotle put forward the theory of mimesis, stating that the essential difference between art and other crafts lies in the former’s imitative qualities, so he classified human art forms (e.g., poetry, music, painting, sculpture) as arts of mimesis. For the discipline of historic preservation, it is essential to build the work based upon the existing structures and ideas–the essence of mimesis.

Walter Benjamin, in his One-way Street, described the conflict between the preservation and landscape identity and the perpetual modernity. Similarly, almost one century later, a new force, social media, is discreetly changing our perception of our heritage. This also presents one of the issues I am enthusiatic about in Critical Heritage Studies.

“The empire is being crushed by its own weight,” Kublai thinks, and in his dreams now cities light as kites appear, pierced cities like laces, cities transparent as mosquito netting, cities like leaves’ veins, cities linked like a hand’s palm, filigree cities to be seen through their opaque and fictitious thickness.

ARTS | 27

HONGYE WANG PORTFOLIO

Selected works from Historic Preservation program & professional experiences

Made by Hongye Wang, last updated April 1st, 2023 hw2845@columbia.edu | +1 917 754 6966 Columbia University Graduate School of Architecture, Planning, and Preservation 28