Do people get annoyed when it's very noisy? It's only when they don't have a choice. We are designing the experiences, so design shouldn't only look nice, but should perform. It's one of the most viable things that you can be challenged on or held responsible for, because you can't see it and you can't solve the solution after the fact you have to solve it during. When you're thinking of sustainability, great acoustics, amazing and meet people's performances and so on then, and looking at achieving that great design, it's a lot more challenging. When there's always too much sound around you, it's annoying. You know, in MAUFIS, for example, now I see some people that put a little punk art, on a hard task, please do not disturb me. From my 13 years out being here, we've always had to address acoustics. So, you've dealt with glass partitions, things like that. That was the main acoustic treatment from noise transference, from one room to another. Now, in the last, I would say, four years, acousticians have been a necessity, recommended by the project manager or the client to bring on board. Acoustics is related to wellbeing, acoustics is related to productivity. It is also related to retention, because if I'm in a place that does not allow me, to focus, it is going to cause clutter in my mind, and it forces me to think about places I can be quiet. I still find it the most challenging, is achieving great simple clean design, with the best outcomes in terms of furniture, acoustics, beautiful lighting, and above all its performance. So, the technical side of it is the most challenging. So, achieving that clean ceiling, which performs from an acoustic point of view, but also the luxe levels are right, and the natural light penetrates the space in the right way. I think that's the beauty of really doing great design, considering everything. There is two types of acoustics. There is the acoustic to separate, I mean to kill the sound between one room to the other room, like a manager room, a director room, or a meeting room, and the rest, because it's confidentiality, or not to be disturbed by the noise. So, that's easy. This is the first requirements they ask, some certain level of clients. But then we come with a solution of the acoustic for, in order to sound absorption, with different material that are in the market today, for the staff that is in the open space. And that's something we have to educate a client, and to bring these solutions. So, do is a very specific one. It was extremely exciting, and quite complex. And the main focus was bringing people back together, and opening that communication, breaking the barriers, which means instantly, you know, noise pollution, issues with the acoustics and so on. We have isolated the loud zones and communal zones from the workplace, in a way that we have created a ring around the core, with all the specific communal spaces, collaboration spaces that potentially could cause this noise pollution within the open plan. The space that we're designing is a community workspace, but it's meant for creatives only, which means you have architects, designers, photographers. And for a lot of us, we like the chatter, because it's also a way of learning from other people, right? So, the idea behind the space is that we have to create spaces that allow for noise, that attracts people there, and that creates a community space. And then you also offer people the choice of moving into this, actually, these are smaller spaces where they can focus and work. So, these are people who are renting spaces, but they're also renting the experience of being in a community. So, inductive noise is not a problem. Education of what the client now understands about reverberation and noise transference is prominent in a design. So, bringing that in the beginning, because when you're laying out your projects, the wall thickness is of what you're doing, how you're trying to go slab-to-slab on walls, the treatment of additional layers on those walls is prevalent in what we do. So, from the beginning, it's really, really important. My personal favourites are the ones that are concealed, and you cannot see them. They're integrated as part of the structure of the ambience, rather than add-ons that are more decorative. Now, we're looking at curves and how we can apply the acoustics into a curved partition, or how we can treat the glazing that still require acoustics. So, the micro-perforated film that can go on that still gives you a bit of acoustic performance. So, elements like that have been evolving for the past two years. As designers, we tend to believe in sometimes, and we know certain products work, you keep going to them. What I feel is changing now is you have more experts, and you have more people getting into these specialist realms. So, for example, you have supplies coming in telling us, you remember the acoustic part that you saw before, here's another version of that. Or here's how you can use it differently. And that then makes even the client more interested. Because if I'm saying, I'm going to put an acoustic wall, she knows it's probably going to be fabric. But now when I tell you more, I'm sorry, but it's going to be wood-wool. It's going to be acoustic felt. It's going to be something else. That then makes him interested in the product, because it looks good, and it's more value for him.