And clients love to choose one out of three projects. We don't like to work that way. We like to think that the process needs to be more interactive with a client. We need to share knowledge and ideas and get to a mutually agreed kind of perspective on a project, not a mutually agreed three perspectives on a project. Then I started my own firm and I had five miserable years in the garage from 91 to 96. And I was just about to give up. I did a couple of little projects and I had worked with a little more work with TVWA Shire Day, the ad agency, who I'd met through Frank Geary because Frank Geary did their binocular building in Venice in 1990. I was about to throw in the towel, it was about a cent of my resume. And then I heard that Shire Day were wanting to redo their building. Without it, they're building, take a huge warehouse space in West LA and put everyone into one huge community. And that sort of became a massive opportunity for us to take urban design thinking into the interior and a very large scale and create a kind of a village in this building or as the client likes, call it an advertising city. This idea of how neighborhoods can be set up inside of a large space, you get an identity to the neighborhood using iconographic architecture inside of a building which is really unique. You can actually tour through the building even though it's 120,000 square feet, you still get a sense of where you are at any moment in time. Each area is a neighborhood and it has distinct character. It's not just more of the same of the same. And that was a really kind of brilliant idea. We have 927 year olds in our dogs here. We work 24, 7, 365. You want to work near, the lights are on, the air conditioning is on. The space really has to hold up. It was built for 450 people in 1998. It's now kind of 12 years, 12 30 years later. With very little change. This is the sort of first sketch of the idea that's taken as big warehouse which is a big block and then how could they humanize the block? And then this gets really quite close to what we actually built, where with these long bridges that go into the building, and they originally planned to be glass bridges. And this is a little bit like that kind of airport experience of when you're kind of going onto the plane, except it's kind of in reverse. This wouldn't be the plane. This is actually where you actually begin. But one of the notions of entering this space was that you're kind of going to another country. The cliff dwellings over here in Shite. And these were all the creators' work and in pairs and they face each other. And these are staggered elements that were originally intended to be made out of shipping containers stacked on top of each other. We built them a little differently. But this form very much came from shipping containers. Concrete floors, tough carpets, basketball court, things that can hold up to pizza and fair man alcohol, and dogs really have worked in our favor. And Clive was smart in bringing that into the environment. That project turned into what changed our lives. It was fantastically kind of fun creatively, and it's in our continuous to be successful.