 Well, technology is changing the way the culture operates and of course those kinds of ideas are now beginning to get kind of integrated into the way architects operate. And I think it's happening on a whole bunch of different levels. I think the kinds of information streams that architects and architectural students have to manage have become much more complex because of the availability of digital technology. The means of representation, the way people actually think about and mediate their designs are different because of the tools. I think in a lot of ways architectures become much more multi-disciplinary because we acquire technologies from other disciplines, manufacturing, gaming, visualization, and then of course there's a whole set of formal ideas that are available that weren't even provocative when I was an architecture student 25 years ago. We have a whole bunch of stuff going on. We are building the next generation of architectural design technologies that are based on parametric and representational modeling. Our company works in multiple disciplines. We work in the manufacturing arena. Our software is used to make games, special effects, high-end visualization, geospatial simulations, and all that stuff in the way that architects have always done. They borrow heavily from other sources. I think the most interesting thing that we're doing right now is trying to create a series of relationships between digital tools that were perhaps originally purposed for one idea like, say, gaming and moving them into the architectural arena. You look at a tool like Maya, perfect example of that. Our company just made a couple of interesting acquisitions of gaming software that's used to create spatial awareness for game characters. When you put a guy in a three-dimensional environment, he knows where to shoot. Think about the implications for that for model-based architectural design. You could immediately transfer that kind of technology into fire safety analysis or line of sight analysis in performing art centers. There's this enormous convergence of all these technologies. Since we work across all these disciplines, we believe there is the possibility that we can start bringing these things together. In addition to building the technologies, we give all of our advanced software away to students so people can get whatever they want. We've been writing curriculum. We provide technical resources and studios to assist, and then periodically we'll do a science experiment. This past term, we provided some technical support and some very advanced software to Greg Lins and Mark Gage's studio at Yale. They took some software that the commercial value of which is like $60,000 a copy that's used for car design and boat design. We gave that software to those students and just said, you know, go nuts to see what you could come up with. Because we're very interested in finding out how more advanced technologies are used in environments that are kind of unconstrained by practice. So we've got a lot of stuff going on. It's the wild west right now, I think. I do think one fundamental cultural shift that's going to have to be examined carefully is the generational difference between teachers and students. That this generation of students is so much more digitally capable than their teachers that there's something of a gap. You know, what does it mean to give a desk crit in front of a 24-inch monitor? Or how do you really deeply interact with a student when you don't understand the tools that he or she is using? Now that's going to go away, you know, over time. And in certain instances, I mean, we have teachers for whom these are not issues, but they tend to be much younger, like 35 and younger. But once you get to the 40 and older set, sort of my generation, the baby boomers, there's a real separation. And I think there's a gap. There's a pedagogical gap because there's not a deep understanding of what the potential of the tools are. And therefore, you don't have the same sort of teaching strategies at your fingertips that you once did back in my day when we would just sit with rolls of tracing paper. So to me, those are big changes. I mean, you know, when I look at the way my students work today versus how we worked 25 years ago when I was a graduate student, you know, our heroes were Rossi and Graves and people who drew. And it was a very two-dimensional thing. And the tool of choice in our studio was a Prismacolor. And now our students are working very much three-dimensionally. They don't really separate two-dimensional ideas from three-dimensional ideas, at least in our school, tremendous emphasis on digital fabrication and making ideas upstairs in the studio and executing them downstairs in the digital fab lab. So this kind of separation between abstract drawing and making stuff is starting to go away. So technology is really changing them. Is it really changing the mindset? And it's good timing because at the same time, a lot of the new technologies are changing the mindsets of practicing architects as well. But I think it's an entirely new environment and creates significant teaching challenges, I think. Well, I don't know. I mean, the vector that we always use as architects to get some technology into our heads is kind of formal exploration. It's shape-making, it's exploring a formal agenda. So what you see right now, and you can see it in Tom's work, or Zaha Hadid's work, or some of the youngsters like Mark Cage. You see the use of scripting to achieve a set of formal ends to kind of make a series of shapes that are intellectually provocative. But I think actually that is only the very beginning of the process. Because what scripting and parametrics really allow you to do is set a series of relationships or variables and solve for them. So if you could do that around ideas like energy performance or building code analysis or daylighting objectives and begin to take those kinds of ideas and apply them to the broader part of the design problem, not only does that create a really interesting design environment to solve for, but at some level it frees the designer from having to manipulate those things themselves. So if I weren't able to parametrically create my building design where I knew that none of my corridors would violate the fire code. I'm free, I can spend those cycles doing something else. So in a way, this idea of scripting is, and of course we captured it from some other methodology, right? We captured it from movie making games. That's where that stuff really came from. But if you take that idea and you really extrapolate it to where it might ultimately be, it has to do with turning the knobs and dials on how a building actually performs. Not to say that you'd give up the formal stuff, but once you can constrain it and script it and make it parametric, you can leave that stuff to the computer. Which I think would be great, right? You take the idea of scripting and massive parallel computing and computing in the cloud and 3D printing and large scale displays. And you can kind of see a different design process ten years from now. Well, sustainable design is really an exercise in understanding how a building is gonna behave in the environment before you build it. And as a consequence, our strategy is to create tools that allow buildings to be richly simulated and analyzed prior to construction. Which is not something that's possible doing traditional two-dimensional drawing. So what we're working on essentially are tools that allow you to model a building so you can predict its behavior. And tools that allow you to reason about that building so you can optimize it for its green characteristics. So for example, you might take a building information model created in Revit. Which has been directly connected to an energy analysis tool that we have now called Green Building Studio. And they're hardwired together. So if you're trying to optimize the energy performance of that building, you would run a scenario in a building information model, query Green Building Studios to the amount of energy consumption. And then instantly change the scenario and see the energy impacts. If you take that basic principle, which is a building information model is a platform for iterating and optimizing the sustainable characteristics of a building and pair that with analysis tools. That's really what we're doing. And there are lots of things like energy analysis, daylighting, quantifying recycled materials. If you talk to the USGBC guys, you'll find out that one of the things, one of the lead points that people rarely go after is the quantity of recycled materials in a building. And the reason is, it's a pain in the ass to do those calculations. But a building information model, you just query it. You just say, okay, how much fly ash concrete do we have in this job? How much recycled fiber content do we have in the carpets? Computers are great at doing that kind of stuff. Humans hate doing that sort of thing. So we're trying to align those kinds of capabilities. Well, I don't know, I think that question probably has two sides to it. On the one hand, they don't care, right? In the same way that most clients don't care how the engine underneath their car works, they're just interested in the results. On the other hand, there are a couple things going on out in the world right now that are pushing advanced clients to want more technologies, integrated project delivery, ideas, sustainability, which requires certain kinds of digital technology to really drive the agenda. But also, I think there's another generational thing going on, which is that we're now starting to get a generation of clients who grew up with X-boxes and wheeze and lots of 3D visualization in movies. And to walk into a client presentation and present a bunch of plans and sections and elevations to someone who's kind of worldview is digitally three dimensional, there's a disconnect there. So there's a demand, there's a kind of insatiable demand for high resolution 3D interaction. And that's also pushing clients to have much higher expectations about what's going on. We're probably not quite there yet, but you can see the broad outlines of it. This, our industry moves really, really slowly and it's generational. My generation is not gonna be able to do this. Yours might.