 Steve Jobs says, he sees himself as the intersection, at the intersection, of art and science. And I would just shift that slightly and say I think we're at the intersection of people, art, and technology. And in a way, in every circumstance, it's different. It's one of the great pleasures. The need to get people to want to go down was crucial here. And you know, people tend not to want to go down. And of course, what had been down here before over the years had always failed. Well, you understood what was available below grade. And you had this terrific need to go down effectively and with a sort of, in my view, particularly with Apple, but in any case, a sort of spare vision. And you also, so we looked at a number of alternatives, and then it just saw, you know, a number of seeing and sketching. A cube is a really good solution. You know, Steve, it's a great solution, actually. You're on the center line of this building, which isn't a great building. I mean, it went behind us. But still, it has a strong attitude. You're crossed from the Plaza Hotel on access. You are seen in a glance as you come by on Fifth Avenue, you know. So it's got to stand forward on the corner of Central Park. So how do you simply bring people down? I mean, it's not just bringing people down. You're making a window for the underground upwards into the sky and the city. And how do you do that? How do you get it just right? That's how we did it. And then we looked very hard, began with very hard at its scale, varied it even by two or three feet. And that was really interesting. And of course, by we, I mean, we did it with Steve, of course, and with Ron Johnson, Bob Bridger, and of course ourselves. How do you get that just right? It's highly intuitive. You can go through all the arguments and all the words. By the end, it's good intuition. Speaking of what attributes are useful, it depends. But my first partner, Dick Powell, who retired, I don't know, he was older than I was, maybe retired almost 20 years ago now, 18 years. He said, before he retired, he said, Peter, he meant this in a pejorative way. He said, Peter, you treat this corporation, which is our practice, like a hobby. He meant that as a sort of negative observation. It wasn't, because you really need, you know, you may, you have to look at things in a rather serious way. But if you lose the sort of childlike quality of looking around and imagining and touching people, you've lost it. At least, I think you've lost much of the possibility of doing extraordinarily good work at least on occasion. There are so many different attributes that can affect what you do. I believe in making humane buildings, but I think it is humane. And I think of that as a sort of soft modernism. I don't mean soft headed. Just mean somewhat touchable. And I, you know, I see examples of that in the past. People that I find touchable. Beyond that, I think you must visualize well. Although I've worked for one or two architects before we started up practice, who were very good architects, we couldn't draw very well. And I think it's handy to be able to draw, because that means you can visualize. And, you know, you can make the connection between your body and what you're thinking about, and so on. But I think desire is the most important thing. I think we enable people at our best. For instance, you know, that early house that I did for my mom and dad in Connecticut in the early 70s. I don't think you change people, but you do. You can enable them. I think I enable my mother. And you figure, I figured her out, like in her kitchen too, within six inches, of really how she operated and how she liked to operate. And I knew a bit about how she understood the world and what interested her. And also, and so gave her those opportunities. And I think whether you're dealing with a university or dealing with an individual or whatever, whether it's how they grasp a rail or how they see how the light is, or how the materials, you know, people see a history of a material like stone for instance, how there's magic all around them. And I don't mean that in a superficial way, because, you know, we may think we're rational, but we're also emotional beings and how to affect people. So I think we can have extraordinary effect. And we have to keep looking for ways to do that. Looking ahead is always hard, and we do tend to misjudge often. I would say, one, it would be interesting to see what our present economy would affect it has on all of us, and on young architects. I'm not sure it's all going to be negative. Some people can say, oh, it's going to be terrible. Put us out of business. Everyone's going to lose their job. May be true. But that, too, would somehow be an opportunity. I don't mean a crash opportunity. I mean, it will open other doors. As long as there are people, there will be a need or a desire and a need therefore for help from people like us, whether to sort out the world and help shift it, and the most mundane challenges in one hand, which are often fascinating and on the other for to make places that are emotionally compelling and again are enabling. I don't think people are going to lose that. Now, maybe those people won't be called architects someday, and maybe they will. And I'm doubting they may be a bit different, but I believe those requirements on money on the technical and sort of somewhat sensible quotes, needs, and on the other, the issues of people's emotional qualities are going to be with us as far as we can see into the future. And therefore, there's a world for all of us.