 You can teach certain things. You can teach people how to do a CD package. You can teach people how to draw certain details. You can teach people how to work through a process. You can't teach someone how to be a good designer, and that might be subjective, and that might be something that we consider one way and somebody else might consider another way. But it's about speaking kind of a common language where you're going to be able to sit down with somebody, talk to them about an idea, give them some responsibility and some ownership of something so that they can begin to author something on their own. But when it comes back to you, it's going to be something that's within the language that you want to speak. And that's something that's very difficult to teach. And I think we've seen kids coming out of school who are very talented, who are very dedicated, and who are passionate about what they're doing. But their understanding of the language that we speak, and again, ours might be different than someone else's, is just incompatible. And no matter how hard you try, you're never going to find that compatibility. There's execution and conceptualization. They're two very different things. And the people in the academic world, a lot of people can execute, but they're not always the best sort of ideas, you know, big idea thinkers, and there are people that are great ideas and they can't execute anything. You need both qualities to really be valuable in the workplace. One or the other doesn't really do the trick. Well, there are a lot of firms that actually just want executors. We're not interested in just executors. They don't create a better product for us here. Every institution is different. I think there are some institutions that try to prepare their students for the workforce, and there are other institutions that don't at all. And no matter how hard you try to prepare, I don't think you're ever prepared for it. I mean, we have seen some pretty dismal approaches to the profession. And we had different experiences. We had very different experiences. I think that what you look for school to do is to prepare you how to be an intelligent thinker. I don't think you can ask for any more than that. And I think inherent in any design profession, wherever you go and you meet with somebody, they need to prepare you how to present your work, talk about it intelligently, and graphically show it well, but also just how to think through a problem. Because I think good thinkers can sort of fake their way through the first year out of school. Bad thinkers are a parent in the first two hours, three hours of work, and it never gets better. And what a school can teach you how to do, and this is whether it's in a history class or design class, is edit. If you come out of school and you know how to edit, you will always be able to look at any idea, any concept, and get to the heart of it. And you'll be able to distill all of the other stuff away from it, and you'll be able to focus on what's important and what you're being asked to do. So whether you're being asked to do it by a boss or by a colleague or by a client, you need to be able to get to the heart of that. And all too often, we see students who just have no ability to edit. And it's really, if there's one thing that you could come away from school with, it's that ability to really understand what's being asked of you and edit it down and provide that. And provide that in a competent, beautiful, successful way, but provide that. I mean, regrettably, and again, I've sat in a few of math reviews at Pratt over the past few years, and the people that know how to present their work well might not always have the best project, but if they can present it well and make it seem compelling, then they do well in the end. So that is as much a part of it as anything else. I think, you know, people that overinvest time in generating product aren't always telling the best story in the end. Socially conscious design is sort of an interesting term. I think we would say that all good design throughout history is both sustainable and socially conscious. All good design throughout history has thought about how to use natural light, natural ventilation, the correct orientation, social consequence, context. That's good design. If you're thinking about all of those things, I mean, that's what architects are. Architects are synthesizers. You know, we're kind of the, we're trying to take all of these specialists, all of these consultants who are sort of technologically, you know, or who are adept in a particular area and synthesize all of their information with all of this sort of contextual and visual and social information. And that's sort of what we're doing. And the best architects have always done that. They've always done that very successfully. So when you're thinking about design, I think you should always, you always need to be thinking about its impact on a particular context. When that context is at a scale that implies a social consciousness, then you have to be thinking about that. You have to be thinking about those implications. Our firm primarily has focused on residential design. We've worked for very wealthy people with very deep pockets to execute their homes, whether they be renovations in the city or ground up construction outside of the city. And for us, sustainability first and foremost deals with a better understanding of how people live and how we can create a more efficient way of living. What that means, I think, is a whole dissertation in and of itself that we could go into for a while, but it really speaks to, you know, if you look at the category of McMansions that have littered the landscape of this country over the past 20 years, those really embody the negative extreme. If you look at sort of, you know, interesting housing projects that have developed in inner cities that are trying to deal with certain levels of efficiency, minimizing redundancy in program, if you start with that, you're starting with a fairly sustainable envelope. If you're just eliminating more space and you're building more efficient space, it's better, point blank. We also want to, you know, understand how newer materials on the market can be integrated into our design in a way that contribute to the design concept. And again, aren't just an application. I think that's something that we continue to come back to with all of our projects, not making things disappear as though they're stuck on, but how do they really sort of energize the design approach. Sustainability to us isn't about just slapping on solar panels or reclaiming water or all these sort of buzzwords that you read about every week in, you know, L Magazine or Vogue Magazine. It's sort of something that's embedded in the design and quite simply we believe that good design is sustainable design. Like Andrew said, I mean, we were doing very large houses, large residential developments for very wealthy people. So to say that we didn't have to pay attention to sustainability is maybe too bold, but it wasn't really initially part on our radar screen. It's just not something that we had to deal with. Once we won the competition in New Orleans, we started to understand more about what the basic principles were about. And that really started to interest us. And it wasn't so much that we didn't have to deal with it. We actually then became really kind of interested in it and fascinated by how it brought about change. And one of the interesting things about sustainability is that, you know, in fact we're going to be speaking about this in a couple of days, but sustainability, the sustainable movement has sort of come about mostly because of this question about our atmospheric conditions and greenhouse gases and so on and so forth. And ultimately it's about energy reduction and it's about natural resource use reduction so that we don't have such a great impact on the planet. And those are all well and good. We believe in those things, we believe in those smart things to do. The interesting thing about sustainability is that it has had a kind of ripple effect down at a local level that I think most people wouldn't necessarily understand as related back to this larger energy picture. And the local consciousness is one that also we strongly support. It's about walkable cities. It's about public transportation. It's about shop local campaigns. It's about strengthening your community. It's about making sure that your neighborhood involvement is one where within your local context you have what you need to survive. And that's something that we've learned coming out of the New Orleans project, but it's something that we learned is a very, very strong principle that should be embedded in most, in all societies. And if it's related to energy consumption, great. But what it does is create a much more positive atmosphere for living. And that's something that is architect we just believe in wholeheartedly. If you can reduce your footprint, be more efficient, create something that is more enjoyable to live in that everybody can benefit from, that's why we do what we do. And it's interesting because I think that the net effect of it all in some ways is much more tangible than the kind of, you know, the big picture goals that may have started this all to begin with.