I just tried carpentry because it seemed interesting and I didn't like doing kitchen work all day. I think I just got more interested in the design of it as I went along because it doesn't stay interesting to me to just do things by the plans. I got to put up another box and then put another roof on it and then people will move in and I couldn't see myself spending years and years doing that. So Errol always did kind of the design. She just worked with whoever was willing. Necessity has always been why we build. Like when we came here we literally had no shelter. We had the big barn and that was it in the trailer. And so it became necessitous to get a place to live, get some studios up, get to work and that was just basically box structure where they called stick construction which the guy who was doing carpentry at the time knew how to do it, been trained to do that. Chaz can figure the mathematics of something. He can figure to build a building this shape of this dining room or the shape of the log house and how it goes up and how the roof comes down and he can figure that out and he'll build models. Be a lot more comfortable and a lot more flexible because he'll build a house that the wind doesn't tear through. Yeah. Oh you have to account for all those details. I mean building in this place over the two years that we've been here the buildings have changed a lot just from knowing what the reins do and what the wind does and what the what it means to build on the side of the mountain. Right. Makes a big difference. You're influenced completely by the land and improv isn't just improv by the people but improv by where your building is. And he is he is great at that. He understands grades, he understands steepness, he understands pitch, he understands those things. He has a natural ecological point of view and he has a natural elegance about him. It's just the way he is. So your buildings end up being very lovely even though they're ecologically sound. In other words a lot of eco builders aren't really very aesthetic. Very very good at that but very few are like you know wild geniuses at the aesthetics of it and Chaz has both so it's very thrilling working with him. Yeah. You know because sustainability has to be beautiful too. Yeah. To make its point. I mean people in our rural area now come and look at Chaz's buildings and they get the biggest kick out. They can't even believe it that what he's doing and it's fun. You look at what's considered artistic you know in the world when people put up the pieces of iron in their own gardens and it wasn't done to be arty it was because it felt good it looked good. It made them feel better that that is where art has to stem from. That's that's what true art is. The other thing is to impress somebody over there or because this is indicative of a certain movement and it's so heavy that you lose that thing that art is you know you connect to another human being because of that kind of beauty which especially when you build organically it's in your body. You understand the beauty of a tree because your primitive cells understand the beauty of a tree that was shelter then it's shelter. Well I built this cooperatively and you feel it in the aesthetic and then the people that come into it are going to become cooperated. We did that with the log house we built the log house we thought we had a great design we were done. We had put the roof on but we were like what the hell is this? You can't see the mountain you can't see the sky you know and he said well the only way to get that is we'd have to put the damn thing 10 feet in the air and we both looked at each other and I'm like oh well I guess we do. And then we just kind of slept on it in the next morning I said can you I think if you went there can you and I started describing I said can you do the roots again? I think why I even finished it because he was right there he going oh yeah that kind of roof okay I'll figure that out. And it's the same in the building you know the crews that I work with all these guys in the same thing there's no script you don't there's no blueprints there's an idea for a roof that you're pretty sure it will work and then as you're doing it you go uh-oh we don't know how to do this and somebody says hey how do you do a blah blah and I think about it I don't know you better figure it out. And Emma comes out of working the way we do is you find each other strength some weaknesses like there's no competitive secrets. There's no people here that get involved in the areas they're interested in love to do the wilder the play skits. The whole all of us all of us get more alive. Yeah because because that means you're ultimately going to have a culture where everybody's enjoying what they're doing. Yeah. Yeah. And that is the ultimate goal of a equilibrium where like Wolf said we're a genius potential where work becomes play. Yeah. Keep that with you and then build a culture from that. Yeah. And then you'll have a world that is kick ass. Yeah. And that world will survive. Yeah. It will not go down. Yeah. If you give people a great place to work in a great building to work in a great home to live in they're going to thrive. That's true. And that's the same as the philosophy of Zendic if you give them a philosophy that gives them room to expand. If you give them religion and politics with a room to thrive then they will and the buildings should reflect that.