 So first off, thank you to Global Dialogs and Enya for inviting me, and I'm excited for the discussion. You've heard my bio. I started a video production company, studied architecture, and I've been doing it for the past roughly 10 years. And so I'd rather pose my sort of current big question. So how do we, as those responsible for the design of our built environment, tell our story and communicate our value? Which digital is the new, you know, the new big medium. And I just want to quickly run through our industries communication methods, you know, sort of harkening back to art daily. But we started off with texts, books, monographs, magazines, blogs, newsletters, drawings from the napkin sketch to the illustrative hand drawing renderings, right? We're moving into more digital, computer-rated renderings, animations, fly-throughs, photos, which is probably what we all love the most. Everyone's looking for that quintessential money shot of their building. They're looking for five to 10 photographs to tell the story of a space design in their portfolios. We love photos. Video, YouTube started in 2005, so it's only been around for 11 years, and that's been the outcome of the changing pace of technology to record and shoot video. But we've been a slow profession to adopt that. And it's the medium that I work in the most, so I'll touch a little bit more about that later on. And virtual, we're going into virtual and augmented realities, which I don't have much personal experience in, and George does, so hopefully he taps into that. But again, this is an area that is becoming more ubiquitous with headsets now coming with your Samsung phones. So I'm here to say our model for communications is outdated, and so the way that I judge that is by how we are perceived from the general public. And so I still think that the old workism is still rattling around in the public's perception of what we all mean to society. I know it's a well-worn stereotype, but I still think it exists today in many, many layers, no matter how much we tell ourselves it doesn't. So the star architect, right? From Corb 100 years ago to today, I still think we have a pipeline of students in design schools that are all interested in becoming America's next top architect. And I think that our media heaps accolades on the individual, in our awards, in our media, in our communications, and not the team. How many times do you go look at work and you don't even see who the contractors are that built it, who are the engineers? The architects usually aren't even sighted, and that's within our own communications. And so I think that this all is out there on our various platforms. I think it's all very sort of naval-gazing imagery. There's no people, there's no real furniture, there's no occupancy, it's not been adapted, it's not been used, it's not messy. I love this stuff too. This is what I look at. I've studied architecture, so I've got that problem. But in a very tongue-in-cheek way, I call this essentially archiporn. And we're very much obsessed with our own imagery. So that's us, and I wanna say, as opposed to the rest. So what does the rest have? This video is, if you type in architecture in YouTube, this is number two that comes up, it has like five million views. Number one is a documentary film called Art Culture that I worked on. Only has like 400,000, but if their algorithms do crazy stuff, but this is the top thing, right? It's sensational. This is what people are thinking of when they think of architecture, or at least that's what the stories are that exist that are out there. It's emoticons, right? Who out there is using Slack in their offices right now? I've got a few, all right? So emoticons, all right? It took me a long time even to find these little junky clunkers out there. So if anybody wants to design some really nice architectural emoticons, it's a great little quick project you could do. But quick emotive abilities, it's memes, right? You've all seen memes, everybody's on social media. These are really quick, effective ways to tell a story. They're snippets of content that are disseminated by the masses, pushed. You're not forcing them down people's throats. They want to share them, and God forbid we make something that actually people laugh at in architecture. And the last quick one that I wanted to grab are gifts, and look how effective that quick little gift is of that museum illustrating the formal massing of it. So that's us versus the rest. And so I'm sure you all have heard this. Maybe I'm just head down too much in marketing, but content is king at this point. And I think we are offering monotony. So why does this matter? Why do I care about it so much? And it sort of boils down to me being 10 years in the trenches of our profession's communications. And I think it relies in the idea of who are our clients, which is our true architectural dilemma at the moment. And it boils down to are we a B2B or a B2C business? And when I say B2C, I say B to consumer, but that's user. So are we the individual at the table with the developer helping them envision their dreams in a formal architectural space? Or are we engaged with the users and listening to them to build a more robust, dynamic-built environment for all? Who are we? Are we the handshake? Or are we the caring ear or the friend, the listening architect? And so I think that it's not a versus, it's not an or. I think we need to be an and. And this is a conundrum that if you talk to most of you from leadership, most architecture is down through a handshake still. And I think that we need to evolve out of that model to begin to engage because if we just keep the handshake, we're not building future generations of clients and as that number explodes. So we need both. And so we need to build the clients of tomorrow with our buildings of today. And I think that that focuses around how we communicate our work and the value of each building that we work on. So how do we do this? How do I do this? I think it's through great stories. I think it's through great stories of our built successes. Tell the story of the buildings that already exist that you've done. I think it's telling the stories of good design and the effective design on society and real people. Tell us the story as you're doing the design. Build your audience for your work as you do the work, not just when it opens and you're afraid to go back into it. And I think it's with great stories of design's potential to solve our pressing problems, which are everything from social to environmental, the quality of life, to resiliency, to health. We need our built environment to evoke the values that we believe in and to inspire, not just contain our activities. And so you guys have great stories. So I have a quick case study. This is me actually showing you some video on the video guy and we're in architecture and motion. So I feel like I need you to show something. So I have a quick case study to oppose and hopefully this works. So this is a World Trade Center transit hub. We should have a little bit of music and then just have it. This is the only thing you could find on a World Trade Center hub after a site before it zooms into a whole bunch of spaces. The next is another video that I would like to show you. I'd like to see some type of flood protection in this area that's going to happen. More vulnerable, obviously, being as close to the water. Something that just brings more different walks of life. Another escape from just the business and the household investors. There's this great space that could really become community space, cultural space, and active uses. So you get a feel for both. These are what was put out before they were built, right? So obviously the dry line hasn't been constructed. It hasn't doubled or tripled its budget and people aren't pissed off because it costs X billions of dollars yet, which the transit hub has that problem. But I believe that if the transit hub was actually out there narrating the conversation a bit before it was able to just get slammed, I think the conversation would have been somewhat different. And neither one of these, I was not involved with either one of these. I think what the strengths are in this by Bjarke Engel's group and Squint Opera, which is the agency behind this, is actually allowing the consumer slash user to tell the story. It's not a wonky policy person. It's not the developer. It's not the omnipotent architect, designer telling you what needs to happen. It's people that were affected by it and that would be affected by design solutions, which is so much more powerful. So, and then, I'm just gonna fly this, but obviously you guys all know that the transit thing was slammed and the accolades for the dry line so far have been warm and fuzzy. So, but so how do I start? How do I, all of you in this room, begin to change this narrative? You know, your head's down. You're over, you're underpaid. You're overworked. You're hustling everyone, even if you're at the top level of the firm. I think you do it by generating your story today. I think that that's by telling the story of your designs, your work, your career path, you have a super communicative device in your pockets that takes amazing photographs and video clips. You have tons of platforms to socialize this, to push it out. Start using it. You know, I think that as, and if we all start doing that at 200,000 plus license and unless it's Architects in the United States, we'd start to change the narrative of architecture. And I think it's now, which is what we'll get into more about the conversation and I'll have a couple more slides, is because technology is allowing us. In video, equipment's getting cheaper, lighter, faster, smaller, all right? That is 360-degree cameras, right? It's drones, it's GoPro's, it's stabilization, it's VR, it's AR. All of that stuff is getting easier. The consumer's having it, it's gonna be in their pocket, it's gonna be on their face, it's gonna be in their glasses, it's there for us to use. So I think we need to start preparing for that and using our abilities to tell stories about our work. Because I think if it's not us, then someone else will dictate the narratives of our built environment and I believe it should be the profession that's tasked with that responsibility. Thank you, it's my contact.