 My arrival here means that the conference is over. I want to thank, first of all, the audience. I mean, it's a great pleasure to have an audience that stays attentive for hours, participates, and this is possibly the best outcome that we can receive from the work you have been doing. Of course, many thanks to the panellists and to those who have been with us these two days. It's quite interesting for me to finally consider what was, since the beginning, apparently clear to me, but the strict complementarity from what has been said and what has been the object of the agenda of your agenda and the themes of investigation of the Biennale. Thank you for the many information that you have brought to us. The many information, not only in terms of analysis, but in terms of proposals. We call the Biennale the machine of desires because to fight conformism, to fight depression, we need to foster desire. And to foster desire, the only one means is to show that there can be a physical alternative solution for what we do, for what is around us. And for what I can draw from what you have been saying and for what we can see around us, we live in times in which there is a bad need of positive examples of what can be done. Whatever can be the role of the architect, whatever line you can follow, whatever way of thinking, please bring the world examples that different things can be done. And the effectiveness of our actions seems to be the most important issue today. We lack resources. We are overhelmed by phenomena that seems to go beyond our command and the effectiveness of each of the actions we can do. We can implement seems to be the theme with which we can fight pessimism and that horrible danger which is depression. When Arabina bought the official image for the Biennale, I considered it very positive because I thought that the old lady climbing on those stairs was a perfect representation of who we are and what we, to some extent, would try to be. An old lady that climbs to get an expanded eye on what's around us. But after the meeting, may I borrow from Rosanna Montille another image that I will bring with me and I will bring to the Biennale. The image of Mexico City group of people being brought on top of the volcano to acquire a different perspective of their city to start with an operation of inducing change and inducing new desires and inducing and letting know that there are alternatives. I'll go back with the idea that the volcano, the top of the volcano will be the new image of the Biennale. We'll try to bring up there all of us to see that there are different, from different perspectives that we can induce the desire of social change, of economic change. Thank you.