 Ladies and gentlemen, please welcome back to the stage Caroline Bowman. Hello again. Believe it or not, 26% of our visitors at Cooper Hewitt find out about us through social media. So let's light up our feeds tonight by sharing our favorite moments of the evening. My thanks to the terrific jurors who selected this year's class of winners. We have a record number of NDA honorees and jurors past and present here tonight, and every year we like to acknowledge the NDA family. Would all winners, jurors, and alumni please rise? To kick off the ceremony, it is my honor to select the recipient of the Director's Award, which recognizes an individual or organization's outstanding accomplishments and support of the design community. This year, I am elated to present the award to Susan Sonasi. Everyone knows who you are, but just to continue a bit, former editor and chief and publisher of Metropolis published since 1981 and now director of design innovation for the award-winning magazine. Susan is a dear friend of Cooper Hewitt and so many of us. A thought leader, activist, filmmaker, and educator, Susan has dedicated her career to sharing the power of design. As editor of Metropolis, she oversaw its continuous evolution, keeping the magazine fresh, lively, and on point in an always changing world. Susan's radical thinking expanded the scope of design journalism to ask deep questions concerning contemporary design social relevance and responsibility. And through her incisive and persuasive criticism and writing, Susan raised awareness and champion just about every significant social development in the field from sustainability, particularly sustainable architecture and universal design to the rebuilding of the World Trade Center site. This past Saturday, it was wonderful to see Susan interact with so much enthusiasm and evident delight with the young designers who took part in her book cover design workshop. My favorite was the Nancy Drew cover. Here are just some of the highlights of Susan's extraordinary career. Susan Sanasi with the director of the award. Susan. Thank you Caroline. I'm going to now change glasses because I can't see anything. And I'm going to refer to my handwritten notes, which I probably can't read, so you'll be lucky if I get there. So anyway, I would like to thank a couple of institutions. And one of them is that little village in Hungary where I was as a five-year-old, I roamed everywhere. Everybody knew me and so I felt safe and warm and connected. So I kind of a living proof of the phrase or the sentence, it takes a village to raise a child. I was literally raised by people all over the place. So one of the things that I'd like to thank because in this political season, I really look for people who inspire me. I'd like to thank President Eisenhower. And why is that? President Eisenhower wrote after the Hungarian Revolution and after we became refugees and we invaded Austria and everyone was kind to us. And President Eisenhower wrote an executive order, a kind, gentle, beautiful, productive executive order. And in that order, he mobilized the U.S. Armed Forces. And he directed them to take us very quickly to the United States because this was a really important thing to do for the people who have suffered a great deal. And we weren't even in a displaced person's camps for a month. I mean, people have been there and now they're there for years and years and years. And they really expedited us really quickly. And one of the most interesting things was, of course, I want to thank President Eisenhower for making my dad really happy. Because what made him happy? During the, when the Iron Curtain was down, he dreamed of America trapped behind the Iron Curtain, that damn wall. Walls don't work, okay. I also want to thank the magazines that I worked for, including interiors and residential interiors. But mostly Metropolis. I spent most of my working life at Metropolis and was able to bring together a lot of interesting things because we covered design at all scales. Everybody was very specialized. We really reached into the whole design environment. And then the idea that we could talk about policy, economics, culture, and environment and do it ethically. Ethics has always been very important to me. That comes from my dad. So that's another kind of daddy thing, you know. And then I really do want to thank Cooper Hewitt because last Saturday in this tent, I had the best time in my life. Best. There were these beautiful children who came in and they did not need to be encouraged to draw. We were designing book covers because I was teaching them how to communicate a simple idea with a beautiful illustration and minimum words. So of course, and that's what we're trying to do with magazine covers too and modeled on posters. So it's a really important part of all of this. And they did these wonderful, wonderful covers. And without any input, I mean, I just told them what I thought they should do, but they did it on their own and they read, they draw, they collage, they color, they want to make things. These are five to 13 year olds. The future is in great hands. Design is alive and well. And it's going into the way into the 21st century. And I was there to see this happen. So thank you. Thank you, kids. Thank you, parents. Thank you, Cooper Hewitt. And thank you for this award. The films tonight pulsate in response to the creative outpouring of each winner. Collectively they animate and celebrate how we inspire one another and work together as a design community. Massive thanks to Cooper Hewitt trustees, John Cayman of Radical Media and David Lubars of BBDO New York. And they're super talented teams for conceiving and producing them. And now on with the show. The architecture design award is vice chair of the Clinton Foundation, Chelsea Clinton. I'm honored to be here this evening to present this award to my longtime friend Michael Murphy and the entire mass design group. As you saw in the video since Mass began in 2008, what has been central to their ethos and their approach is that architecture must be both beautiful, as well as centered on the dignity of the people that is intended to serve, rooted in their philosophy that design is never neutral. It can either heal or hurt. And certainly from their work that I've seen personally in Haiti and Rwanda to what they've done now in a dozen countries building clinics, hospitals, schools, they're evidencing that approach in really powerfully profound ways. And listening to Susan evoke a phrase that my mother at least helped make more well known, that it takes a village to raise a child. I think that mass design has certainly ensured that every village in which it works, whether it is a slum in Port-au-Prince or rural area in Rwanda, very much feels part of the creative process alongside it, feels ownership of it, and will do things with it in it and outside it that they themselves could never have imagined. I think there's something really powerful in that creative ideal, that they themselves recognize what they do is only the beginning. And they feel no remorse for that. I think they feel quite proud that they're a catalyst and nothing more. So in this moment, where I think what all of you do has never been more important, certainly at least not in my lifetime, it is just a tremendous honor for me to be here to help celebrate people who have long been friends, heroes, and examples to me. People I am proud to support, people I am humbled by, and I look forward to all that they will do in the future. And I'm just so thrilled that Kuber Hewitt has chosen to recognize work that is really profound and powerful, far away from the Upper East Side of Manhattan, but really close, I think, to all of our hearts, certainly to mine. So with that, it is my pleasure to welcome Matheside Group to the stage to receive this award. And I hope, since we're really here for them tonight, please give them an even louder round of applause than you gave for me. Thank you very much. Thank you. I want to thank Chelsea for being here and standing with us tonight. She's been an amazing friend to our organization over the years. But more importantly, she's been such a fierce advocate for justice and dignity in communities around the world. I also want to thank Caroline Bauman for being such an advocate for design, but also for the potential of what design can do and the impact it can have. And to the trustees of the Kuber Hewitt and the distinguished jury that were humbled to have been selected by for this award tonight. But I also really want to recognize my colleagues that are here tonight that we are indebted to for all of their hard work. Some of whom have traveled from around the world, from Kigali to be here and celebrate with us tonight, as well as some of our earliest supporters, our board of directors, and others that have really believed in us for the 10 years that we've been in practice. Also to all of our spouses, our families that are here and have been so resilient in supporting us over the years. We're really humbled to be on this stage among the other awardees past and present and are just thrilled to be here. Thank you. So 10 years ago we were struck with a question. Why was it that the most inspiring, innovative, and beautiful architecture that we had studied and had admired in the world also served so very few? And why was it that the projects that professed such great societal impact were often not that well designed? Did it have to be such a devil's bargain, we thought, either choosing projects of purpose or projects of beauty? We started Mass Design Group to challenge this tyranny of low expectations, that the greatest architecture could not only be the most beautiful, but also be infused with its greatest purpose. And over the last 10 years we've become convinced as more and more practices are rejecting this false dichotomy, this false choice between beauty or justice, but instead fighting for social justice through the creation of beautiful dignity filled designs in communities around the world. I want to thank the Cooper Hewitt for advancing this movement. We want to thank all of the new firms and innovative practice models out there who are changing our expectations of how to advance great design anywhere. And we want to thank all of you for recognizing and joining us in the belief that the fight for justice is a fight for what's beautiful in this world and that without a great built environment the fight for justice will be incomplete. Great design is a right, not a service. I hope to meet all of you here tonight to help advance that movement and build a world we want to live in together. And I want to thank all of us, all of these great, amazing colleagues on the stage for all they have done and to thank Chelsea for supporting us here tonight. Thank you all. Joining us to present the Corporate and Institutional Achievement Award is President of the Times Square Alliance and Adjunct Professor at NYU Wagner School, Tim Tompkins. At a time when democracy, diversity, and descent are under assault in our country as never before, the work of the design trust for public space and nurturing spaces and places of freedom, spontaneity, creativity, and connectivity is more important than ever. On behalf of the literally millions of people whose lives have been transformed in ways small and large by your transformations of seminal shared spaces from the pedestrian plazas of Times Square to the High Line to the borders of Flushing Meadow Coroner Park to farms throughout the five boroughs to the spaces under the L, I am thrilled to present this award to the board of the design trust, its founders, Andy Woodner and Claire Weiss and the unflappable and indefatigable Susan Chin. Thank you, Tim, and thanks to Caroline Bowman, Cooper Hewitt, and the National Design Awards jury. We're truly honored to receive this award. I'd also like to thank our design trust co-founders, Andrea Woodner, you should stand up, and Claire Weiss for their amazing vision, yes, thank you very much, and our incredible board and dedicated staff who've helped us transform our city's parks, streetscape plazas, and even taxis. So for over 20 years, we've connected with designers, policymakers, communities to reimagine public space together. We're proud to work every day with multidisciplinary teams to create a lasting impact through design on how our city is more livable, resilient, and equitable. So public space belongs to everyone, every one of you, and we'll continue to lift up the community's voices to create shared space and making our public spaces public for all. Thank you so much. Presenting the Design Bind Award is architect, author, and educator Jack Travis. Derek Bell, Frances Cress-Welzing, Fannie Lou Hamer, Medgar Evers, seldom heard during their time and seldom known today. Nevertheless, all are great voices of black resistance and the never-ending battle for a sober understanding, for equity within the human family. Craig Wilkins is that black voice and architecture, a voice that strives to educate the many but is too often only palatable to a precious few. When asked to present this truly special award tonight to Craig, my immediate thought was to admit that he is a beacon of light connecting young and old in the choir and anyone else who has the rarest kind of open ear, the kind that is exhibited by this institution this evening. But I will simply end with Craig Wilkins, unknown soldier to the many, as you may be, you are known to me. And tonight we all salute you. Congratulations. Wow. So first I'd like to thank Jack for that awesome introduction. And as always, I want to thank my parents for giving me a confidence that far exceeds my abilities. My mentors for continuing the deception and for my friends for not. The University of Minnesota, University of Michigan and Southern universities for providing a space. For difficult questions about design and social justice to be honestly engaged. To colleagues past and present whose curiosity and commitment helped me to make my queries take root and to grow. Partners, co-workers, interns, research associates, and students to numerous dimension who have placed some portion of their professional and educational development in my hands from whom I receive much in return and then some. I thank you all for your earnest support. I am not here without each and every one of you. Lastly, I'd like to thank my anonymous nominator. I'd like to pay my anonymous nominator. This year's NDA jurors, the Cooper Hewitt Smithsonian Design Museum and staff. And I'd like to give a special, although she told me not to do it, a special shout out to Vaso for putting up with an admittedly distracted, difficult me and making this a most surprising and gratifying evening. Thank you. I'd like to present the Communication Design Award as chair of the Smithsonian American Art Museum and chairman and CEO of Chronicle Books, Nyan McEvoy. So prolific producer of style and verb for over 40 years. Jennifer has created 88 posters, four swatch watches, three apps, 49 books. 26 retail stores, nine restaurants, six textile collections, 2,480 webpages, 28 TV openings and videos, 68 magazine covers 209 magazine ads, 404 catalogs, 52 pieces of furniture, 192 packages, 47 paintings, three tons of steel sculpture, two daughters and way too many logos to count. In addition to teaching design for 20 years at California College of the Arts, Jennifer is president and creative director of Moorla Design, a multidisciplinary design firm in San Francisco. She has received over 300 awards of excellence including the AIG Medal and now the National Design Award. When Levi's needed to shed its western image, they picked Jennifer. When Rob Forbes needed someone to take a struggling design within reach up a notch, he turned to Jennifer. And when Chronicle Books needed someone to introduce a new take on single subject food books, we turned to Jennifer. Her work is part of many museum collections including MoMA here, the Smithsonian American Art Museum and SF MoMA, where in 2000 they mounted a solo show of her design work. It is now my pleasure to introduce you to Jennifer Moorla. Thank you, Nayan, for your really kind words. While attending art school in the early 70s, I saw work on paper by conceptual artist Saul Lewitt. It was beautiful, a series of graphite dots radiating out from a dense black center. I then read the title which, although I can't recall the wording exactly, went something like this. My trying to hit the center of the paper with a pencil one million times. My lesson learned, the process always informs the solution and makes me as a designer reconsider how to create beauty. Thank you to the NDA judges for this honor, recognizing and rejoicing in all facets of beauty. And thank you to Arlina Ramundo in my office in San Francisco for making our studio the best it can be. And lastly, thank you to my family, my husband Nealus and our two daughters, Petra and Zara, for supporting me in every way. Thank you. Presenting the Fashion Design Award is designer and founding principal of Project Projects and winner of the 2015 Communication Design Award, Prem Krishnamurthy. Well, hello everyone. I can only see the blinding lights, so I assume you're all there. I am truly thrilled and honored to be presenting this award to Mary Ping and Slow and Steady Wins the Race. It's such an illustrious group and it's amazing to be here with all of you. I mean, I will say Mary was Project Projects' very first client for whatever that's worth 14 years ago. And it's amazing to see all of the accolades that she has garnered in her past years through her fashion work under the moniker Slow and Steady Wins the Race. I think Mary is really a rare breed. She's somebody who is truly genre-defined. She's moved with a critical practice that moves between fashion and art. Her work, as the name suggests, is both timeless and yet very particular to its moment. It's critical. It looks at the conditions of creative production, not only fashion, but across different genres today. And I mean, I think that the thing about Mary's vision that is so impressive is that it's uncompromising. It's rigorous, it's conceptual, and yet it's also humanistic in its approach. And so I'm really honored to present her with the National Design Award tonight for fashion design. I got thanks, Prim. And thanks, Chris, who's also here. Yeah, it's crazy. They designed my website 15 years ago. So thank you, Cooper Hewitt, the Smithsonian and the National Design Awards jury for the distinguished recognition. Slow and Steady Wins the Race started 15 years ago with a design mission that is somewhat antithetical to today's fashion system. We are much more fascinated with items that seem to be both timely and timeless. Unique and universal concepts with a sense of longevity, first and foremost. And at the speed at which we're moving at, this really feels like the tortoise is really winning the race today. This award really goes out to the following. My incredible studio working behind the scenes, whether it's inside the studio or outside the studio. Rachel, Gina, Joe, Jimmy, Project Projects, Familiar Studio and Studio Lin. A lot of the work wouldn't be possible without my aunts who tell me every day that they're on standby. And these are aunts who sew and knit. My parents, Ling and Albert, my sister Jenny for telling me on a scale of 1 to 10 what is actually 10. My boyfriend, Cass, we're flying in all the way from recording his album to be here just for tonight. And most of all my grandmothers for teaching me about quality and humility and finding what's both elegant and egalitarian. Thank you. Joining us to present the award for interaction design as vice president of product design at Uber, Michael Goff. Don't judge me, I've only been at Uber for a week. So 20 years ago I had the great good fortune of watching a designer who was just coming into his own. He was grappling with the relationship between maps and data and narrative. He was pushing pretty hard and I would like to say it was this rich wonderful collaboration but I would get to work about nine, which is about the time he was leaving after another all nighter. So let's just say I hope I influenced him a little bit. But I couldn't be more proud, like proud as a papa. Over the intervening 20 years, Eric and his team at Stamen have taken data, maps, to create amazing narratives that have opened up a better understanding of many, many different issues. From transportation to the environment to politics, things that are really in the common good. Getting people to understand incredibly complex topics in really, really simple ways. I am so proud to be able to give this award to Eric. Twenty years ago when my boss Michael Goff asked me to tell stories, with the data pouring off of sailboats that were sailing around the world in a nine month race, he asked me to take the emails and the videos and the data that was pouring off of those sailboats, which I didn't know anything about and turned them into compelling narratives. And that changed how people thought about how you could tell stories on the internet. That changed how people thought about how we could talk about data on the internet and it changed my life and my career. In the meantime, it's been 20 years. We've seen data visualization develop into a mature and exciting medium with every bit as expressive potential as film and literature. And I'm so delighted that the work has been recognized by the Cooper Hewitt. It's just fantastic. I want to thank my amazing colleagues at Stamen, past and present. There's been a lot of really great people coming through here. I want to especially thank Jim Stanley, who's here, my general manager for keeping me out of the poor house. And I want to thank John Christensen, my partner for believing in me. And I want to, I need to thank my beautiful wife, Nikki, for hanging in there with me through thick and thin. I love you, Nikki. Thank you. And the last thing I'd like to say is this award is so meaningful to me on a personal level, as well as professionally. I'm the son of immigrants and I'm the first person in my family to go to college to both get myself, yeah. And, yeah. And I managed to get myself both accepted to Cooper Union and then two years later kicked out of Cooper Union. So, it's a good club. Screw you, Raymond Abraham. So, to get this national award from the institution founded by the granddaughter of the man who founded Cooper Union feels like much more than an award. It feels like coming home. So, it's good to be home. Thank you so much. Here to present the Interior Design Award is actor, comedian and author Michael Ian Black. So, we built this house. My wife and I, we built this house. And there came a time in building the house when we had this cool wall of books and we needed a library ladder. And you think, oh, that's so cool. We get to pick a library ladder. And there's so many library ladders out there. And we were excited because think about all the crazy library ladders you could have and how awesome the library ladders would be. And it would be so cool to have this incredible library ladder. When it comes time to pick the library ladder, we're at Deborah Burke Partners, my wife and I, and we see some library ladders and we're steered towards a simple library ladder, a kind of almost utilitarian library ladder. And we're like, all right, I guess that's the library ladder. The library ladder goes in, I don't know, a year and a half later. And I'm like, I don't know about this stupid library ladder. I don't know if this is a good library ladder or not. Two years later, three years later, we're living in the house. And every time somebody comes over to the house, the first thing they do when they see it is go on the library ladder because it's a perfect library ladder. And it goes with, and it's not fancy and the house isn't fancy. It's a house and it's simple and it's elegant. And the library ladder goes with the baseboards, which are simple. And we saw the baseboards were like, I don't know about these stupid baseboards. They're so simple. They're perfect. The ceiling, slatted stupid wood on the ceiling. Guess what? It's perfect because everything in the house, nothing is ostentatious. Nothing is crazy. It's all perfectly thought about, designed and laid out in a collaborative way. Everything collaborates with everything else in this house. And that was our experience working with Deborah Burke and Deborah Burke partners. It was simple. It was elegant. It was collaborative in a way that I didn't know it could be. I thought, look, I thought my wife and I would probably get divorced when we decided to design a house. No. We just celebrated our 19th wedding anniversary two days ago. Thank you very much. And we would not have made it as a couple if it was not for the collaboration that we shared with the incredible people at Deborah Burke partners. And I am honored and thrilled and so delighted and flattered that they asked me to bring them to the stage here tonight. So please welcome Deborah Burke and Maitland Jones and Mark Leff and Caroline Wharton Ewing and Stephen Brockman from Deborah Burke partners. Well, that was really hilarious. That was great. Thank you. I'm going to sound more serious and also shorter. On behalf of everyone at Deborah Burke partners, I'd like to thank the Cooper Hewitt, the Smithsonian, and the design awards jury for recognizing our work. We're really honored. I'd also like to thank our friends, our families and our clients and our collaborators who are both our clients and everybody in the office and all the other wonderful consultants we work with. We share this honor with you and thank you for your support throughout the design process. We do our work not just perfectly but with intelligence and rigor and we try to do it seriously with kindness and generosity because that's how you need to conduct yourself in this world. We, like all of tonight's winners and we're honored to be among you, are fortunate to work in the world of design where one can be creative and make beauty every day. This is a great day, but even on the worst days, it still makes for a profoundly fulfilling life and for that, we are forever grateful. Thank you. With that visual introduction, I don't even think I need to say anything. I just want to first thank and just acknowledge how honored I am to be standing here tonight before you, introducing my great friends, my great collaborators, Surface Design. Since their inception 11 years ago, Surface Design has made a meteoric rise 11 years and they're going to be standing on stage here. From a tiny studio in San Francisco to the one of the most respected and revered world-class landscape architecture studios out there. Collaborating with their team on numerous projects of wildly different scales and program types, I have had the pleasure of observing their design process, their highly inventive and exploratory design process that is nurtured throughout their studio. There is a fearless approach to their creative process that dives deeply into their respective projects, local, sociocultural constructs for inspiration. This unique gift of observation is then transformed into a clear and strong narrative which ultimately yields to poetically sculpted and inspired landscapes. It is my absolute pleasure to introduce to you James Lord, Roderick Wiley, and Jeff DeGirolamo, the principals of Surface Design and the winners of the 2017 National Design Award in Landscape Architecture. Thank you so much, Josh. We are so thrilled to be here and it's an honor to be part of what essentially is the celebration of the power of design. For us, our work intends to inspire and provoke new ways of being in the world. Landscape, for us at its core, is the space that connects us all. It's the space in between buildings or extending adjacent to where we live. It's presential to provide a platform for unlikely conversations and ideas is what drives us to design. The imagination remains a critical tool for us to confront an increasingly homogenous built environment. And finally, I think probably everyone feels this way in this room, but our work is essentially collaborative. So to us, the ability to share our work with you is an amazing opportunity. Thank you. I'm just going to say, being like someone, I'm an anchor baby as well. So I want to celebrate my parents that are here, their immigrants that made this happen. Thank you. Thank you for this great opportunity. It's such an honor to be here tonight. With the President of Burnhard Design, Jerry Helling. Good evening. As you've all just witnessed on the video screen, the moment you see Joe Ducey's work, you realize he's an incredible talent. What you probably don't see looking in his portfolio is that he is a wonderful and generous person. From the beginning of his career, the thing that's touched me the most is his wanting to create a community for designers to bring them together, to share with one another, and to support one another. So tonight, I think more than ever, it's a special evening when we can recognize and honor somebody who is an amazing talent, but also has integrity, humility, and is very, very generous. So ladies and gentlemen, Joe Ducey. First of all, thank you, Jerry. I mean, it's been such an honor to get to know such an icon of American design. If you don't know who this guy is, you need to. Secondly, I'd really like to take a moment to thank the Cooper Hewitt. I mean, really honestly, the work that you do in bringing design, the power of design to the public, it's an incredible service, and one that I think should be duly recognized. But also, I need to thank everyone here in this room because it's through your support that allows that to happen, both financial and through your time that you donate. Design is something that has the power to be transformative, and it's only through organizations like this that that becomes public knowledge. You know what? I'd also like to take a moment to thank the judges for this year's award, and to you I say, you can't take it back now. It's mine. Thank you. You know, but I mean, most importantly to me, I'd like to thank my beautiful wife, Shaita, sitting there who supported, like a kid who grew up in Texas with nothing and believed that he could follow his dreams and create work with purpose and passion and humility. And I have a blessed life, and thank you. Thank you all. For Lifetime Achievement, his longtime Sequoia Capital partner, philanthropist and author, Sir Michael Morse. Thirty-five years ago, I found myself sitting in the passenger seat of a brand-new two-door Mercedes Benz being driven around the hills above Silicon Valley. The driver was very enthusiastically gushing about the new electronic seat controls in this car, which he ordained one of the greatest examples of a user interface he had ever seen. He then suddenly changed the subject and said that he had just got back from a trip to the Black Forest in Germany where he had met the greatest designer in the world. That man was Steve Jobs. The designer was the recipient of this year's NDA Lifetime Achievement Award, the man who has earned and thoroughly deserves the only standing ovation of the evening, the endlessly inventive, utterly creative, immensely curious and inordinately colourful Hartmut Esslingert. I should definitely thank everybody, people in the U.S. and so on. I don't want to make it too long because the Black Forest, the absence of criticism, is the highest praise you can get. So, fifty years ago, my professor in engineering school told me that it will not work out with me. I was twenty-three years old, that's probably getting called. And I asked why and I said, in Germany the teachers don't call you by title, you are just an Esslinger. He said, Esslinger, you think too complicated. It's not going to work, but there's this crazy guy next door, he's a designer, and you can look there at what they do. They do crazy stuff like teaspoons and so on. So I went there, there was a sewing machine, and then I felt all my life I had done it already as a kid. You know, I decided ships, let them swim, I built airplanes, I felt myself be in it. I lived in my sketches. And then I started a study with Karl Dittert. And then I was just a sophomore, I drove by my first client, Dieter Motte, and he had a company called Vega, you saw some of his things, and I said, I want to be your chief designer. And he said, are you crazy, you are a sophomore. I said, yeah, but you need a chief designer. I mean, this design sucks. In German it's not so polite. And actually Steve Jobs also liked my broken English in the beginning, after half a year, Harvard, your English is getting too good. He likes this really direct honest statement in the beginning, which were helpful. And then I was incredibly lucky. With the work, Sony came to me, and I had the privilege to work with Zoya Orga and Archimorita. And then naturally with the success of Sony, or as an American, had incredible luck to meet Steve Jobs. And Steve had this idea that design would not be a niche profession, but the core of a company to make products for people where people would fall in love with a product, form for those emotions, form for those love. And as you know, I don't want to make it too long. The most successful company on earth now, maybe except for the company's you back, Michael, is Apple. And it's strictly based on user experience and love for the brand admiration and the cultural emanations that our products have. And it's still the spirit of the beginning to love people. And then we look ahead when it's coming, our professional industrial design has got an additional domain in. And looking ahead, we have to look at artificial intelligence. We will have machines which will design for us. So we designers have to be ahead of technology before engineers ruin it. And... Yeah. And that's the true success in the end. Mind speeds money, but money is also important. I mean, many designers think it's not important. I think it's extremely important. And also, the company I was lucky to build together with a lot of people, more than 1,000, is Frog. And I want to mention one person here. She is my toughest critique, my most loyal supporter, and a really smart business person, my business partner and wife, Patricia Wohler. And we are a really conservative husband and wife of wife and husband company. And Michael was instrumental in our continued success and that the company can continue to exist. And last but not all, I also want to mention we have to change the way we design in terms of sustainability. The United Nations has expressed and made a document about sustainable industry. I think we have to work to produce less with more value, go from consumerism to usage. And also, we are a global community. We designers it's a new profession which has not so much national origins. And I think I have an open design community working together worldwide. It's also what I hope to get built. That's why I'm in China right now. And I'm looking at the genes of my parents despite this threatening lifetime thing. 50 years, I think I can still go for another 20 or 30 years. And I will give my best every day because I wake up happy and I go to sleep tired and happy. Thank you very much. Thank you. Form follows love. Form follows emotion. It's been an unforgettable evening and thank you everyone for joining us. Please join me in raising a glass to the 2017 National Design Award winners. Congratulations!