 He's far and above genius. He can see things like out of the box and sit there and sketch it and then bring all these mediums together. You know, stone, metal, wood. To bring all that together in one project, like that's not normal. It's truly an artisan where the line between function and art disappeared. What he was doing in staircase is we hadn't seen done anywhere else. It really takes it to a whole new level. We have master woodworkers in the shop and sometimes they look at his designs and scratch their heads and say, how are we going to build that? I mean, it's amazing stuff. Nobody else is doing that. He submits projects every year and wins four out of five awards. So much, they're like, we got to get more categories. Some other people can, you know, win. Like it's not my opinion. It's everybody's opinion. This is a very special individual. I think people have almost forgotten how to use wood. It's used in such a basic form often. It's a forgotten, sidelined material, but it actually has a huge amount of opportunity. What Nathan in his designs is trying to do is very much to bring back the craft of stair building and to use joinery that's just not done that much anymore. We're doing things with steam bending where we bend woods and you get tension and you get strength and we're using different types of materials for their different strength properties. You know, within stairs, a lot of people are just buying stock parts. We're actually designing each piece. The jobs can take quite a while. We can work on the same project easily for a year. The project we're doing right now has around 6,000 hours in it. Often people think of craftsmanship as the 1800s type of thing and it's kind of silly because we have amazing machinery. With the aid of design software, there's really a great opportunity to do some really mind-blowing stuff that could have never been done before. If you're going to build something and it's going to last for 200 years versus you're going to build something that's going to last for 10 years, it's probably the most sustainable thing you can do. You don't have the opportunity to create something wonderful if it's for just the temporary moment. I had an interest in sailing around the world, so I ended up going to boat building school kind of on a whim. When he saw the workshop there with all the big woodworking machines, his eyes lit up. When you're in the presence of a large piece that has, you know, sort of graceful curves and is a beautiful abstract form but made of beautiful materials. It just became really captivating. I think that was an influential factor into kind of falling in love with wood as a medium. Kind of like jazz, it's something, as you learn more about it, you fall more in love with it. There's not a lot of, like, good business models to model this off of. Like, it's not like, oh, let me go find the other super complicated craftsmanship large company that's making amazing pieces and I'll just mimic their business. And there's been some really rocky and scary times. Like, I started the business during the recession. There was a couple moments where I almost went bankrupt, but I certainly feel like I could live in any situation. I sleep standing up. What? Yes, I sleep standing up. Yeah. Whatever he's doing at that time, he throws his entire body and soul into it. Work for me is just my life, so I think there's not really that same blurry line. Like, there's no clocking out for me. It makes it very easy to sleep standing up when you're very tired. Yeah. I have to protect his magic because he creates magic and it's my job to make sure that the magic is grounded so that we thrive and that he can continue to do it. This is the moment to make our dent on earth and I didn't get into this out of an interest in capitalism. I got into it out of an interest in craft. We sort of represent a beautiful thing and there's so many people, you know, that work here that are having the opportunity to push the limits on design and be part of creating art in the modern world. My employees are like family to me. You know, it's really important for me to continue this tradition and this craft and to enable an opportunity for that to continue to exist. I don't think he's interested in keeping alive the tradition. I think he's interested in restoring that tradition. Our vision is to have a mastership and apprenticeship program. In Europe, there's a whole traditional woodworking apprenticeship program, but in the States, there's really nothing. We're trying to set up a model that could then hopefully influence the woodworking culture in America. When something is handcrafted and has this sort of energy going into it, people are trying and striving to create something beautiful and when it's executed, it really is stunning. I mean, why is the Eiffel Tower worthy of our attention and time? Why is it on a postcard? It's just a beautiful display of craftsmanship. I would like to make the Eiffel Tower number two. Absolutely. It would be a wood version, obviously.