 Juan, thank you so much for joining today. I always think of you as a model of an architect. We all have our models, and you're certainly one of mine. You have a beautiful practice with incredible buildings being completed, or just completed in Oslo and Colombia that are really public buildings, and so interesting. Congratulations on that. But I'm always amazed because you're really an architect who designs, who builds, but you also write. And you don't write. It's not the usual scholarship. You really write as an architect, and I wanted to think. And I always remember one time I asked, how do you do all this? And you told me you even write for when you're making design suggestions, you write to your office. So writing is really fundamental to your way of being an architect, and I wanted to expand on this relationship between writing, drawing, and building as you see it. Well, it's true that I write a lot. I write not only the texts that are known and published, and I write every day when I am traveling to connect with my office. So my office used to send to me drawings, and I comment then writing, not drawing or sketching. This is a big effort for me, but I think it's also the best way, in my case, to keep the kind of conceptual conversation about what we are doing or what we want to do, and also to give some protagonism to the people of my team. I think that this question of writing is the nexus between the practitioner and the professor. Or let's say in these hard times we are living now, we need practitioners, but we need thinkers. And the next future will be the result of this conversation between the people who have the clarity to talk about the future and the people who have to do it. So I think a group of architects, we are in the middle, and we are the hinge of this conversation between the pure theory and the pure pragmatic practice. And writing for me is exactly the medium to get that. It's also interesting you mentioned traveling, and of course right now we are not doing that. But again, as a model of a kind of architectural practice and someone who's been very engaged with this time we are in for architecture, you articulated an idea of a global practice that's very unique, which is not the global firm that works everywhere, but really you chose a few places where you connected, where you felt like you can be both local and global at the same time. You understand the culture, and at the same time you can zoom out. And I think that's given the work a certain richness, and I know you're bringing that to your studios. The sense of having students be very particular in the way that they learn about context and the place. And I wanted to hear a little bit more about that sense of how you allow, for example, you've been looking at the rural condition for some time, and or post-industrial sites, or thinking about the past and the future. And so the sense of connection to a place that we sort of understand, but not quite, and how we decide to engage with it. Just thinking a few years we have changed completely our idea of global practice. I think from the enthusiasm of 10 years ago, talking about nomadic practices and traveling a lot, and this mythology of the architect being in every place every day. And now we are more critic with that, but also more reflective and more realistic. So I always say that we have to learn, we have to teach our students to be local in many places. And we have also the responsibility, when I say we, I'm talking about the middle-aged architects, of imagine ourselves every day being an architect. So of course, we are not going to travel that much that we have done until a few months ago in the future, I think, or it would be good that we take that as a responsibility. We are not going to be so personalistic and individual. And we have to invent new ways of working in this complex world that now is absolutely evident and true that we have to build a new one. And the pedagogical practice is, for me, the laboratory for all this, but also because we have to educate these architects that are going to perform in a world that is different than the one we have learned or we have been trained. So of course, this is going to be super useful for us, too. But this is the moment. This is the moment I think the School of Architecture, a university in general, and the School of Architecture, in our case, is the only place where these changes can be explored and can be redesigned and can be redescribed. So I think that this idea of the global practice is too broad, but we understand very well what we are talking about when you say global practice. It's a global thinking. It's a way of performing. It's not related to how many miles you have flight in the year. It's really more intense and more deep. And it's the way we can really be part of this future that we want to help the others to be. This makes me think of this incredible project you've been doing for a number of years at Columbia, at GSAP, on constructing practices, constructing engaged practices and how I really felt you went almost around the world through your thinking and explorations and brought to the fore young emerging practices that were operating incredibly locally, but with the most ambitious ideas. And I mean, many of them came to speak as part of your constructing practice symposia. And I know you're working on the book. And it's really inspiring for students to see, OK, there are many, many different models to construct practice. And so I wanted to take that project and ask you what do you see happening with it in the next year, especially given that we really need to not just construct practice but life again after COVID. And also how I know you want to tie with the question of climate. And they're all interconnected. And so the local, the question of climate, the question of engagement and constructing meaningful practices and how you might already imagine these things intersecting. Well, I have to say that the experiment of the additions of the construct and practice symposium has been quite impressive for me because I think, and I was not so conscientious at the beginning that this was coming, that we have been educated in this admiration, like in vertical admiration to the masters, to our professors, or the big names of architecture. And of course, that makes sense. They are the guides and they open many doors. At the same time, to cross that with kind of horizontal understanding of what's happening now. So to help the students to look at the masters but at the same time, look at other small practices, people like them trying to do something different in different contexts has been really impressive in the way the students have exhibited and the young practitioners that were invited to the school discovered that they were part of something. I think that this is also, especially in the last edition when we did these constructing engaged practices is part of an intuition about the practitioners that we are going to need in the future. Of course, this climate change is already in every agenda and our school is really doing it very consciously and very, very seriously. And all the questions around environmental justice and social sensitivity are already the front page for many architects and for many programs and institutions. And we have to be part of that. But I think that thinking in the future, the next practices, the next generation of practices will be totally affected by these changes and they will be totally new. So even keeping the same names, teamwork is also going to be the same that it was 20 years ago. Teamwork will mean something completely unexpected. Commission will mean completely different work because many offices and we are in the constructing practice we have discovered that there are a new generation of offices that do many different work, many different works designing buildings, some of them, but they do many other things. What we have discovered is that design is the center. Design is the main task. And if 20 years ago, 30 or as a whole line 50 years ago was saying everything is architecture, we say for an architect, everything is a project. So we have to learn to do projects of everything and perhaps only a few of those things will be buildings. Of course, the building is our favorite fetishist piece and we love them, but it's not decided to do 100 or to build, I don't know, these complete works that we see from other generations. The amount will be less for sure, but the intention and the capability of transform the life of the people will be much more intense. And these architects, I think they will have to learn all these new formats and all these new ways of working, but also the kind of living in a kind of uncertainty and in a stability that will be part of the new culture. And we also, the most interesting and perhaps optimistic, the way of keeping a kind of optimism about the future of our profession. Well, Juan, I mean, you've been such a mentor to many of us and certainly to a whole generation, I'm thinking about uncertainty and Spain with the crisis and how an incredible new generation emerged very much thanks to you being their guide and we all, but you're also forever young and forever enthusiastic and re-imagining architects' ways of engaging. And I really love this idea that it's not Hans Holain's, everything is architecture or architecture is everything, but for an architect, everything is a project and we certainly then have many exciting projects to think about now and in the future. Thank you, Juan, it's been wonderful as always. Thank you, Mal. We'll speak with you. We'll see you soon for sure.