 I think what we've heard this morning so far is telling us really that design is the method by which we can try and address some of the problems that face us. The point about design is that it's not a thing, it's not a cosmetic, it's a way to understand the world and it's an understanding that so many of the intractable things that we look at are not solved by one group, whether they're economists or transport engineers or politicians or architects, but it's actually having all of those people in that same room, in that same space. I think design also is a way to prepare us for unexpected consequences. Think about Henry Ford, he thought he designed a car, actually he designed the traffic jam. I think also above all I think that design has to be about some sense of optimism. You do believe that what you do as a designer is to change the world even in the smallest possible way. And at a moment now I think we do need that optimism. Extinction rebellion is not the only group in the world who thinks that unless we stop flying tomorrow, unless we stop buying fast fashion, billions of people will die in the next few years and they do use those terms of billions of people dying within our lifetimes. They aren't the only ones, if you look online you can find the human near term extinction support group. And in some ways we do seem to be in that millennial end of days time. The science is showing us why we should be so concerned, but the last time such a massive change was contemplated was perhaps the Soviet Union when Stalin collectivised agriculture and that didn't work out too well either. So I'm going to talk a little bit about design, about the city, how we look at the future, but also maybe the symbolic values of electricity, a remarkably powerful word in the 20th century and the 21st. And here of course is Lenin who came up with the idea that communism is Soviet power plus electrification of the whole country. I think something Ireland also tried in the 1920s perhaps less destructively. And it's that moment when we see how the technology works. Another metaphor for the way that electricity might be understood, this is Ebenezer Howard, the cranky 19th century visionary who looked at what the city had to offer, what the countryside had to offer and decided that far better was the idea of the garden city, a powerful sense of what an electrical metaphor might be. And here is Harry Beck's brilliant understanding of the electrical possibilities of mapping. In the early 20th century when the London Underground was becoming so complex that no one could understand the actual map. Beck, who was a draftman in the signal's office, had the brilliant idea of using circuit diagrams from electricity to create the diagram which now becomes so synonymous with what we think London is. Fascinating to see how it's about to become a symbol of the city, a way that citizens see themselves and how they relate to their city. I think I'd also like to talk about what it is about cities that are so important to us. And these are the things that we really need to preserve if this carbon free future is going to be worth living. This is a fragment of Lower Manhattan and you see a little piece of one of the artworks that were commissioned when the World Financial Centre was built in the 1980s. And for me it's the most powerful summation of why we love cities and what it is that we need about them. So this is a fragment from a line by Walt Whitman and the full line reads city of the sea, city of wharves and shores, city of tall facades and marble and iron, proud and passionate city, metalsome mad extravagant city, city of the world for all races are here, all the lands of the earth make contributions here. Not quite the message that today's America is offering. And on the other side of this open space is another line from Franco Hara, which offers a very different idea of what city life can be, but one that for me also matters a great deal. So Hara's lines are as follows. One need never leave the confines of New York to get all the greenery one wishes. I can't even enjoy a blade of grass unless I know there's a subway handy or a record store or some other sign that people do not totally regret life. People have been thinking about how we might live in sustainable ways for a very long time. William Morris from the middle of the 19th century, a remarkable contradiction, a revolutionary socialist wallpaper designer, wrote a wonderfully visionary science fiction view of what the future might be with his book News from Nowhere, in which he described a world which actually might chime rather well with extinction rebellions views of how we might live, in which he describes Parliament Square in London abandoned with a dung heap at its centre and worthless banknotes fluttering in the breeze as the people had moved to some of those garden cities which Howard was suggesting. Or we might think about Buckminster Fuller. This phrase, of course, attributed to many people, but Fuller probably said it the loudest and the most often. Fuller, of course, had a way of not necessarily predicting the ideal future. This is his Dimaxian high-performance three-wheel car launched in 1931, which unfortunately killed a pedestrian on its test run. But in the background you see what made him famous, the Jesus Ick Dome. And he was also, of course, the inventor of the term Spaceship Earth. The question really is whether this was a practical proposal for safeguarding Lower Manhattan from climate change, or whether it was an awful warning, or maybe some of the two. And of course his visions have turned into a version of reality. This is Cupertino's largest employee, perhaps the most valuable company on the planet, in a building designed by Norman Foster, which is large enough to accommodate a whole town. And just down the road Mark Zuckerberg hired Frank Geary to do an even larger building for Facebook. And if we're thinking about what's happening to the city, these two buildings, towns as buildings, really must give us pause about what that urban life that we might be having will be like. And where is it that these ideas about what we're going to be like come from? What is it that actually influences the behaviours of those people that we hope will keep carbon diaries? Well the world's fairs have been quite strong impacting on it. This is from 1939 when Norman Bell Geddes, an architect who previously designed movies for Cecil Biedemill, worked for General Motors to produce this vision of what America would be like in 1950. And it was based around 14 lane highways and that sense of what the future was going to be like in a way which crammed the audience in. 15,000 people a day found their way into those mobile vehicles that toured the edges of the site. That was a utopian dream. By 1964 and 65, when General Motors tried to do it again, of course, the idea of that motorised future had become more of a nightmare than a utopia. Here we see the three horsemen of the apocalypse in the 60s version of that ride around the city of the future. It's Walt Disney, Henry Ford and Robert Moses, the man who rebuilt New York in his own image. And that, of course, was the time when for the first time there was a sense of popular resistance to ideas about what life were going to be and what they were being shaped by. This is Jane Jacobs who took on Robert Moses who described her as a mere housewife and one. We have been looking since the 1970s about ways in which we can make the world a more inhabitable and just place. Victor Papinek wrote this book in 1971. It contains the ringing first sentence suggesting that there are professions more dangerous in industrial design, but not many. He was first of all looking at what it was that we needed from production what life might be like in a way that has actually inspired another generation of designers now who do see what he has as continuing relevance. But how is it that you actually can use the skills of a designer to modify behaviours? What are we going to do to persuade people that tap water is the greatest luxury that we can have in northern Europe when for 30 years advertising has been pumping out the message that unless it comes in an heavier bottle, single-use plastic, it's not worth drinking. Well, it can be about packaging, so on the left-hand side is a remarkable celebration of the joy of a tap made in terracotta, which is a great traditional way of keeping water cool. And it's really, I think, trying to change behaviours by understanding the way that people respond to the way they use things, those tactile values, that sense of touch. All this is the plastic-free supermarket so far, just one aisle in a Dutch supermarket. But it is also understanding that it's no good packaging things in ways that people won't understand. The point about plastics is that it actually allows transparency. People want to see what the stuff that they are buying is, so you find a way to do that without using damaging plastics. There are other thinkers who have been thinking about how we might actually build more sustainably when it comes to the way that people are doing it. I think it's very important to understand what it is that's driving change. Sometimes it's very, very low-tech things. So this was the busiest dock in Europe in 1950 in London, Canary Wharf. This extremely done, and I think it's very important to understand what it is that's driving change. Sometimes it's very, very low-tech things. So this was the busiest dock in Europe in 1950 in London, Canary Wharf. This extremely dumb piece of equipment, the shipping container, had the effect not just in London, but in upstream docks around the world of a neutron bomb wiping out the entire way that we actually did business within a decade. And then that had the unexpected consequence of producing what had been a dock into Europe's third financial centre. On a high-tech version of rapid disruptive change, let's think about the 11 years since Steve Jobs produced the first smartphone. What he presented as half telephone, half music player produced this, which made Amazon possible, which turned this into that, which had this consequence. We have to understand what it is, these unexpected consequences, these unintended consequences that are changing the world and the patterns of consumption and behaviour so quickly. It's transformed the way that we understand privacy. Who would have believed that we would actually even contemplate the idea of allowing Amazon delivery people to have access to our homes while we're not there? It's transformed the way that we move around cities. Uber isn't just moving us around our cities, it's also encouraging the use of home food delivery, which is also transforming the way that we consume and we interact with each other. The smartphones also change the way that we meet each other and fall in love or go on a date. And if you can do it this way, then why would you actually need to go to a bar? Or it's changed the way that we understand other people or it suggests that we should. Of course, what that's done is produce over tourism as it's now being called, which is the sense of mass tourism. It's something that Western Europe always believed it was doing to other people. Now that it's actually China that's coming to our cities, we see it rather differently. We see that cities are trying to defend themselves against this erosion of their cause. We saw initially the idea of social media as being about the Arab Spring and democracy, and we all know that Twitter has turned into a digital inch mob which brought us President Trump. We can think about sustainability in many ways. This is, I suppose, imposed sustainability. This is Norman Foster's project for a carbon zero settlement on the edges of Abu Dhabi with electric vehicles. With pedestrianisation on the ground floor. Or, I think you can see sustainability in a very different way, which is really about maintaining the sense of what it is that makes a city function and work. To me, what really is the essence of city life is that sense of tolerance, that sense that a city is a place in which the poor can come and make their way to become slightly less poor, a place in which people from all around the world can come and make their living. This is just off Brick Lane on the eastern fringes of the city of London. This was originally a chapel built by French Huguenot refugees who came in fear of their lives from France, bringing their skills who built in the 18th century a Protestant chapel. It then, as they prospered and moved away from the low cost parts of London and elsewhere, became a Methodist chapel. Then, another wave of migration took place in the 19th century and it became a synagogue. Of course, you'll guess it's now a mosque. To me, that is long-term sustainability and how we look after buildings. It's also what gives cities their positive qualities and that sense of their importance to us and our identity. I'll just finish with this slide. These ideas have been around for a very long time. This is one half of the allegory of good and bad government painted by Ambrodio Lorenzetti in 1338 on the wall of the Chamber of Deliberation in the Palazzo di Popolo in Siena. The message is very clear to government. If you make honest decisions with the good of the community in mind, your city will flourish and prosper. You'll see in this image the market is full, the buildings are flourishing. If you don't do that, there are muggers in the streets and the buildings are falling down. Thank you very much.