 Well, I suppose one could quote the famous Winston Churchill when he said we shape the environment, then it shapes us. So I think it's a continuum and that's kind of what culture is all about. It's a continuum until it achieves a plateau of tremendous accomplishment or tremendous failure and then we either keep it or destroy it. But I think we sort of spin up, it affects us, we affect it in a cyclical spin and then we achieve certain plateaus that we cherish or destroy. Well it's challenging in some ways and in other ways it's completely natural. I mean the idea that you should be within one city or one country or one cultural artifact system is kind of archaic. You know we're a world of city-states, we're a borderless culture nationally, I mean look at the financial world. So it seems to me if you can't be multicultural in your social and design dimensions you're missing the boat. If you're in one city you should be multicultural and that is a look at New York, look at San Francisco. These are gateways to the world and the world to it. And so your design should reflect that on any site in any environment. But once you do embrace that it is an easy leap to do work elsewhere in the world in multiple nations and to have multiple cultural talents, designers, planners embracing that idea in their work. So for us it's come naturally. You start local, you grow national, you grow global, you then grow local again. Because if you don't grow local again you're missing it. You've got to translate that international sweep into a sensitivity about local and you begin all over again in a design realm. Well the politic of design is the human dimension. I mean it's not just about sort of elected politics or the cliché of politics. It's about human power and design and grand progees have been the fundamental way that power is expressed. So when you're doing a World Trade Center project or you're doing a redevelopment of the UN and the project is going well or poorly, people want to be involved in it. They want to take credit for stopping it. They want to take credit for launching it. They want to take credit for achieving it. And the designer really should be a political pallet that allows all of the appropriate political powerful leaders to get on that bandwagon and move with them. That means that the design is a success. So don't be afraid of politics. Encourage it, roll with it and your design will become inspired by the political lifting of the work. Well I think it is a transformational period. I think it's exciting. I think part of it is that we're in a gap. We're not sure how to get over the gap. We know what's out there. We can't quite see it. It's like we know we have to leave the shore and it's not about worrying about the shore we're leaving from a design or environment point of view. It's about looking for the land we can't see yet. And this is the geo design challenge. We know that sustainability is a catch all word that everyone puts everything into that bucket. We don't know exactly what it means but we know that buildings are destroying the environment as well as building the environment. We know transportation systems are doing similarly. We know the built environment probably contributes as much as 40% to the deterioration of air quality and greenhouse gas emissions. We also know that we have to in the next 25 years replace or remodel or build a new half of the buildings in most countries. So we know we're on the edge of an enormous transformation both physically, quantitatively and spiritually if you will and we're not ready to do it. We're almost ready to do it and the people that are emerging to do this are going to really change the world in the next 25 years.