You are lecture series as it began. So although I think it's a bit of. Maybe a sort of start and stop. Kind of thing that the College of Architecture is orchestrating one. Kind of a lecture series which is going on at cycle which is not particularly irregular and in. In the graduate program in architecture where we're setting a course for lectures we're starting a little bit late but bear with this and we hope that it just will be build in intensity as we go on. The Having a lecture series of part of the culture of a school of architecture and sometimes we if we let it lapse too long. It begins to dissipate and so we have to remind ourselves that a lecture series is a part of a culture of the culture of a school of architecture and it's the it's a time when we all come together for a big discourse to participate in a big discourse about architecture which can drive everything else that we're doing and. With everybody's help we'll really build the culture of the lecture series in the College of Architecture just to tell you what's coming up in that regard. As I say the intensity will build hopefully and literally so. November second. James corner. Noted landscape architect will deliver the Douglas C. Allen lecture here. The series of other lectures that I've organized for November. One week later Nov ninth. Jordan Williams And Erica whit of the local farm. Plexus R. and D. will speak about their work. Nov seventeenth Tuesday evening hilarious. Swiss architect another of the college lecture series at T. Gordon little lecture series. CO sponsored I understand by the Swiss consulate. The next night November Wednesday the eighteenth been led better an architect in New Haven Connecticut and early mentor of mine and so on a personal note I'm bringing him in to talk to you then on November the twenty third Perry Culp who is a professor of architecture at the University of Michigan. They'll all be talking about their work. I've asked them to talk about the way in which they see the architect's imagination operating through the media of the architect. Just to that formality we thought we would indicate tonight. So if you would take out your cellphone our personal digital device and set it on its loudest said we'll just leave them that way and see what kind of music accompanies the lecture tonight. How this all got started this workshop is that. Purely circumstantial people wanting things are always calling up the director can we can we get this or can we get that is a regional conference of the day was happening. They said it we think it would be a good idea for your students to come and do an extra bit at our conference and at the end of September. It's kind of hard to say no and certain certain cases was that me. Hello. Hey Mike. How's it going to Hanks that exam needed that support. But then I can't the carpenter and the architectural operator say we need a wall I mean I've got a thousand dollars. I could put on a wall can you get some students to build us a wall and. I said well I guess there's nobody around right now this was like July seventh. Now so what. Maybe we can put something together and a few weeks after that there was a letter that came in from Jennifer Bonn or. She was looking for a job and I said well you know there's this exhibit we have to do and there's this wall that we have to build and I really don't know how we're going to do that. Maybe. But I don't know that that's the nature of how this all got started. But it is turned into something quite quite more profound and special I think because this workshop that Jennifer conceptualized put together this these two ad hoc projects. While she's teaching a graduate studio and the students gathered around this project because I think they wanted to get their hands on something something immediate and something real. And that was the way this particular project was born which was for this exhibition in Greenville South Carolina. It lasted a scant few hours. It was a femoral in that sense. But one thing that I wanted to just share with you was something that I suggested that they read as they were starting to think about these exhibits It was a little essay. Out of a book of collected essays on music. Culture called exhibiting cultures. And it's a little essay by historian Stephen Green Blatt call resonance in wonder he says I propose to examine two distinct models of the exhibition of works of art one centered on what I shall call resonance and the other on Wonder resonance and wonder by resonance I mean the power of the displayed object to reach out beyond its formal boundaries to a larger world to evoke in the viewer a complex the complex done cultural forces from which it has emerged and for which it may be taken by a viewer to stand by wonder. I mean the power of the displayed object to stop the viewer in his or her tracks to convey in a resting since of uniqueness to evolve to evoke an exalted attention. It's uncanny. I have to say after being there with them is they're putting together this exhibit and watching them along the way of planning and designing it and executing it. It's uncanny to read this now because I can't express to you in strong enough terms how fully they were able to realize. Both of those agendas resonance and wonder in that place a very conventional conventional first Jennifer banner will introduce the project and the class and join me in welcoming her to the stage. Thank you. Well thank you for joining us tonight and we hope to be slightly entertaining. Bear with us because the format is not typical is a typical in there you see several people kind of coming up throughout and taking the microphone. OK. Some of you might have noticed the mess that we've been making around the school or heard a rumor about sixty thousand sheets of paper or you might have even witnessed a few of the mock ups that we've been making in the atrium. I was the past several weeks. This is all part of a course which George is already in or do says untitled exhibiting construction throughout the semester we are fortunate enough to build two constructions both dealing with ideas of display and exhibition. The first project in process which we will show you tonight pertains to the temporary and the second will be a display wall in the library a permanent construction as well as architects and designers we often times become fixated on the final image renderings and the post rationalized discussion about architectural projects this evening eleven graduate and undergraduate students along with Matthew Schwartz would like to share not only the final installation. But to reveal the guts. Of a design build process as it unfolded within five short weeks the team was challenged to take on several roles within the process as curator as designer as builder. All at the same time. With a group of eleven designers the ultimate confrontation is determining how to work together as a collective team and the challenge for the seminar is to arrive at an architecture without raising hands and taking votes on design decision. But as a collective. Is constantly questioning the program motives drawings mock ups and each other. There are a few pivotal moments on our schedule that I would like to point out in order to understand the time pressure we are all under this schedule was created by Rachel and here you can see she's indicated that timber eight through September thirtieth which is the day we have to install the exhibit. And as you'll see there organize and a linear fashion with kind of overlap happening. And you see right here on September twelfth there's kind of three things that are meant to be going on at the same time which one might think is a problem. We need to order or purchase the materials we need to be in schematic design phase and we need to break ground. So this schedule is constantly in flux and it's it's not a linear process in the end the project while the project began not as a wall of paper as the title of the flyer suggests although we do like the flyer I want to think Jonathan. But it started with this floor plan of an exhibition hall in Greenville South Carolina to hold the at a South Atlantic regional conference and so Georgia Tech was allotted a space right here. And if you read the plan which you probably can't read. There are several other schools that are kind of marked out and those are Clinton in sea state southern polytech and U.N.C. Charlotte and if we zoom into Georgia tech space. It's length this forty feet and that's with this twenty feet and more kind of sandwich between the a registration. On Axis with the drink which is a good thing. So this is a kind of steadying of the scene and without further ado. I'd like to introduce Josh Levs Francois. Thanks. Been charged with talking first here about basically the first few phases or the first few steps. Jennifer mentioned really it's it didn't turn out to be a very linear process there is probably a good reason to begin at the beginning and think about what those first few days or the first few class meetings were like. I actually want to go back for just one second and we have a ton of slides or we're not going to do this a lot but the other thing was this kind of the war room. But we did we looked at this plan a lot. But the first thing I want to talk about is this the process of programming the saying we had to come up with a concept and kind of agree on it all together and started to realize kind of really having twelve people in the class that they were going to be challenges to doing that but one thing that was on the table from the beginning was when George I guess received the initial call some thoughts that started to happen where you know we've just had the centennial and there are other schools that are going to be exhibiting there can we somehow work in the idea of one hundred years and celebrating our kind of. You know the fact that we're we're proud of that as a school where one hundred years old and some of the other schools might not have been. But it was something that we had to kind of pass around and keep on the table for up for a long time. And it remained with us. Kind of throughout the course of the praja. In the back of our minds anyway as a question of whether to use it or not but of course there's always a little bit of kind of breakout work that had to happen and we started the process by doing sort of small group investigations thinking about things that would be appropriate for the temporary because as Jennifer said the saying was really only up. It was intended to be up for a total of thirty hours or something from the time that we built it to the time it was coming down so it was really important for us to think about what sorts of ways we could represent. The word temporary more than anything else. So does just a variety of the things that we sort of presented to each other ideas of Mostly in this case art projects you know video installations that deal with Time Lapse paper and recyclable materials we talked a lot about collecting stuff from around the campus and. Starting to look at things that didn't represent permanence but represented the temporary for us. The other thing that was really important was to challenge. Somehow the convention of a convention because we were we had to work with what we knew and we knew we were going to a convention hall and we knew that there were certain conventions associated with convention halls and for those of us that have been to conventions you're overwhelmed with vendors sales people mostly kind of pushing their wares on you and passing out all this junk. So somehow became interesting for us to think about how could we look at that as a notion to generate generate ideas to use and one thing we really liked was the idea of a takeaway or something that they could actually both engage with and also have sort of a riff on the idea that when you do go to someone the vendors booth. They'll leave you with a little squishy line ball that says the logo of their company or a key chain or a highlight or there were tons of this kind of class meetings and. Chalkboard sessions and sketching obviously just lots of afternoon spent around trace and boards. We're going to let the kind of the process of how we arrived at the paper sort of unfold tonight. But ultimately after that kind of initial investigation of materials of the temporary we did arrive at eight and a half by eleven paper. So I'm going to let him kind of walk us through what the paper was all about right now. Thanks Josh. Paper. Lots and lots of paper. Paper allowed us to address temporality while minimizing our impact on the environment. Specifically we collected documents from her cycling bands around campus diving and eventually we found. Sort of the mother load of paper through the Office of Information Technology central printing service. So for those who don't know they provide a central printing service which is free for students whether they are at the central library they send the documents and they are picked up at a later date. So what happens is a lot of students don't end up picking up their paper. And this is some of that waste because it's because a service is utilized by students in all disciplines across the institute became a very valuable resource for our installation because the the material itself becomes imbedded with all sorts of information that students all across the Institute are using for example one thing that might be somewhere inside of our installation would be. A review on the new structure of nucleic acids the information was really as are reaching including everything from alternatives to fossil fuels the Cretaceous tertiary extinction event a dating discussion guide. Finance fundamentals Matlab tutorials as well as document on the regurgitate flow field characteristics of the St Jude by leaflet mechanical heart valve under physiologic. Pulsatile flow using particle image loss imagery. Just to name a few of the things and so paper was tested as a material in different ways. And the decision was made to use simple rolled sheets very reminiscent of architectural drawings stored the rolls could be made to different diameters to achieve varying levels of structural stability and visual visual effects when stacked in order to maintain a high level of craft and high level of craft. We used P.V.C. pipes and wooden dowels of different diameters as rolling rolling jigs. Really we we spent a lot of time sitting around and rolling these things up together. So for about thirty thousand sheets. We had to made about two hundred man hours. So if one person was doing at ninety five on week days I would be a five week project. Just for them to roll the paper together so storage quickly became a problem. We solve this problem by receiving paper boxes from the central printing office which like the paper had served their purpose and were awaiting recycling. So the papers are meticulously packed into these boxes in order to keep their integrity during transport. Here you can see the the paper stack is getting shorter and the wall of boxes climbs taller to the ceiling. Also notice here on the on the right side of the table where the desk is actually failing under the weight. This is John he's one of the graduate teaching assistants to help those roll this massive amount of paper. We want to thank everybody who helped us with that because without you. We can the done it so the papers survive the transport to South Carolina and see. After the deconstruction or really more like the demolition of the installation the paper was bagged up and delivered to a recycling service. Which was just outside the convention hall and that kind of close the circle of the paper and with that I'm going to introduce Rachel. Having made the decision to use your old paper as a unit in our design we set out doing a series of investigatory studies to understand how to develop the idea further and the initial investigations we all individually work to create models approximating a one foot cube in size allowing each student to further explore the making of a unit of paper here this model shows ideas involving connections for the role such as using a staple this stapler. Or using rubber bands other ideas and volved investigating how to create a frame for the paper tubes or varying the geometry by creating a shape as that and set of shapes. Also allowing the wall to gradually unroll or form a floor wall. Condition. In order to move to a larger scale of mockups we divided into larger teams some of these mock ups were seen in earlier weeks under the stairs in the second floor of the atrium space. This mock up. This mockup involves studying how to contain the paper to spy creating a framework that supported the tubes from all four sides through this framework a cellular structure was created which made up a larger building block. And here the mock up. Studied varying views through the tubes through to a scene geometry. Looked at how different sized tubes could be you structurally to prevent defamation and how the undulation of tubes could add the sums of the sense of depth along the structure. Moving on to a larger scale mock up. We worked as a class to roll approximately five thousand sheets to produce our first wall of paper. From this we were able to study the defamation of the paper over time along with its structural and ephemeral qualities. Here this is a diagram illustrating various ways of undulating and with the different size tubes. It was also really important to focus on the center of gravity and how about would change with the shifting affects. Returning to earlier ideas of incorporating the one hundred years information into our project being Vesta gaited how to use the historical data of Georgia Tech's College of Architecture and roll MIT to help make design decisions for the frame of our project. We used Excel as a design tool for graphically displaying data these diagrams illustrate embodying the graph into the façade of the wall. We then average the graph to make a more buildable geometry we extended the idea beyond elevation by studying the graph and plan. Upper left hand corner of this rhino model and modeling tools to do studies and both the three D. and the two from the diagrams on line drawings we were able then to develop a structural frame for our paper which Leland. Thanks thanks. All right so there was a question of how to make this thing lift off the floor because we weren't sure about quantities of paper. We weren't sure how many we would need so we get that under control we might need to lift off the floor and we noticed it on one of the prototypes that. There's really nice shadows that you see ghosting underneath you as people walk by and so this thing really wanted to be lifted. I think. So there's questions of how to make a structure that would lift a wall of paper that there's really no Swede no structural analysis it just had to hold it up. There was no way it was all ballpark measurements at this point. So we thought at first it was thought at first that slats would could be used and this these kind of diagrammatic whole three models were kind of shown here to have these tennis joints that would be fastened in some way. That would span and then as you see there the tubes would be. Sitting on there. So this is kind of a diagram of this thing idealized as one long line and then at every five years. There was a connection made and. So on then that connection the Pens would be placed on you realize that if you have pens at every two there would be a hinge connection which is not good for a can only ever like that or this kind of connection here. So we made it pretty simple move now looking back but we really liked it then but if we spanned three joints then it became rigid and. We then cut out that we actually didn't make it there was no three D. model of this at all. No realistic three model it was it was made the old fashioned way and a laser cutter. So. Looking at these these pieces of I mean that all of these look very much alike. You cannot tell if one is going up or one is going down. So there's marks on these are the spacers that were used to spread out so the weight is distributed over a longer amount so it's eleven and eleven inches and we didn't want to overpower that with having the structure be wider than eleven inches so it always need to do it here to that eleven inch datum. So there's one mockup and if you see here this is only spanning two and that's a problem because that was with two of those it's four and three quarter inches and we were not sure about the soundness of of that. But with what the system really does is it lends itself to an additive kind of structural unit where then a or B. or C. could then be added as in section and then also and can't leave or. It could also be taken out as well. So when there's a need for greater structure we can add it for less weight we can subtract. Some moving from. There's this is the Alpha CAM file. First of all I'd rip personally like thank you and I know that this thing could not have been constructed or are done without that now in heart. Just keep in mind if I go back here. This was on the Tuesday. Nine days this this model we had no structure nine days before the actual making and constructing. So this was five days before so on Tuesday we made the structure one is a Thursday tutorial Friday nested file and and thinking about the slats. Three hundred something spacers all made of baltic birch plywood and if you notice the orientation most all of it is with the outside grain that was kind of important in the nesting and ten sheets were bought this seven four by eight or seven five by five which are and mazing only so much less expensive than four by aides that we only ended up using five and I don't know what is it going to five. So. Just showing some of these photos that are really reminiscent of the model photos as well. So this is just kind of a scale bigger and each one of those pieces. It's not like we just take them out of the cutter I mean that each one of them had to be sanded or splinters might have been an originally since this thing is about reuse the papers were actually rolled and dowels of different various sizes and P.V.C.. So we thought why. It was thought why not reuse the dolls as the connections because they're no longer hinges if they're rigid then there's very maybe very little friction that has to happen to make this connection. And there's there's those going in. Well the can only ever actually didn't it failed with the dolls. So it's a good since the system is pretty open it was we were allowed to put in bolts and there. And this is kind of a final image of a detail here. Just real quick. This. This was gotten by this is four inches the wood and the spacers are four inches and diameter so they were the lines were off say and and trimmed and yes that just just kind of showing how a model can be realised. And I think with that simulation with Adrian and that Schwartz is next. Thank you thank you. I'm going to speak about how we came to conceptualize the paper in terms of quantity and scale. And right from the beginning we had a clear understanding at the amount of paper that was needed. We just knew it was a lot. And so we had this huge stack of paper and we're trying to visualize how big it could grow as we rolled it. So it sort of just took off because we knew we had a lot to do and it was a sweat shop style. With a team of about maybe thirty students and. Jennifer helping to roll the paper. And the scope of the project in terms of numbers was daunting and I think at one point all of us wondered if we could possibly roll your required amount of paper before our deadline. So we were working on the second floor studio space and. As each day went by we are slowly boxing in students with the wall of cardboard boxes that we are filling with paper. And so this process is really spontaneous and boundless and it was soon necessary to derive some sort of calculation of the numbers. So we're keeping track of the paper in terms of the four sizes that we had we had four different diameters of the roll paper. And so the city of us to be able to calculate the volume. So just analog computation. Computing was used to stuff. Like a linear. With four different sizes and so that we could estimate the impacts mid volume in the numbers for each of the four sizes and from here we could figure out the spatial distribution of the wall. And meanwhile Matt was working in the Imagine lab to come up with a computer simulation that would help us estimate. Numbers and also understand the nesting properties of. The different sized papers and before. Max trains I he let me come into the imagine. And I was able to run the simulation and the number that. Computed. Nine thousand watches seemed really quite low. I'm in terms of what I had calculated. So I left the Imagine my feeling really great that I could tell when to stop rolling paper we had. Back to my desk and started crunched the numbers again and I realized that something was wrong. And as it turned out we miscommunicate our dimensions transposing radius diameter. So the simulation was off by a factor for once realizing this of the simulation simulation. Really was quite comparable to what I can calculate. So I think those are really going to. So I was I was really interested I should have heard about this project going on from Leland. One of my students in the class last semester. And he seemed really excited about it more about the project and then I went over and talked with them for a little while and Jennifer and I thought this would be a really great project for simulation because a lot of the students that I had last semester in this semester in the architectural scripting course have been interested in circle packing algorithms a lot of them been wanting to work on that and particularly Linda and I thought well this is a good opportunity to actually try and implement one and and put it to good use in this purpose. And so that's where I came in and I was interested in working on this is sort of a nice and we can kind of exercise. And it started off looking at the circle packing in the sort of same size circles. It's easy to solve the it's been proved that the most dense. Configuration of circles is in a pattern. But it becomes much more difficult when you have different sizes of circles and how to actually produce a solution. Mathematically. So what we created was our own discrete element method for this way of circle stacking where we take into account. All the different circles and their relationship with the services around them and the. Gravity that can happen and then the relationship between each circle themselves so the first thing that we do is we take these circles and drop them just a little bit with the gravity and then we how many how much overlap are they. And if they're overlap and push them back away from each other just a little bit. And if they go through one of the main surfaces which is formed from the wood structure. Which you'll see in a minute then push it back out of that surface so it just iterates through this over and over again. And what we did this was processing it's a relatively simple language and variant of Java. And when you write it. They're called sketches because they're not that robust they're really quick to do and really quick to create these things and there's lots of examples out there and you can take some parts of some of them and bring them together and create your own and we created this one here that allows you to push out four different types of circles for different sizes and they're also different colors so you can tell the differences and they all move with one another. Pretty well see if I can get this. So here's a sort of video captures at the same time. The other one is showing sort of the whole scale because it's so large it actually doesn't fit very well it makes each of the tiny ones just one pixel which is makes it really difficult to represent circle on the screen in the bottom one sort of one that you can see you can sort of create these pieces and in this gravity has been turned off and this bottom of the gravity are actually being turned on and off based on different conditions but one of the things about the gravity is that it starts pushing them all down and squishing them so tightly that you really want to increase the stiffness but. In order to do that you really have to make the change in each of those small. And change and how they're moving around. It's really related to how fast the delta time or the change in time is which has an impact on how interactive it is so if you can see in this one in both of them as you move along and add more circles. It becomes slower and slower because they're in become about thirty to sixty thousand of them and each of them are iterating with all of the edges and with one another. Checking for a collision. So it really starts to slow down. I think it's a factorial type of problem. But you have to. If you want to increase the interactivity increase sort of the way that it's programmed by using grids and hashing or some parallel processing and really totally changing how it runs a simulation but if you have a fast enough computer and big enough monitors then it's OK. So because the point of this really in point of any simulation is really to give you a sense of what's going to happen it's not going to be exactly precisely what's going to happen in reality because one of the things that we didn't model here was the defamation. You can when you're creating a model you can decide. You're going to show. Sort of what elements you're going to take care of and which ones are not so we didn't take care of the defamation and we don't have a formula for the defamation of rolled paper that has certain types of text printed on it. But what we can do is create this sort of real quick. Simulation allow people to play with it and get a sense of what's going on. And for me. What was really important that that I was interested in this was really what Josh and Lindsey talked about in the difficulties of working together on the design project the collaboration and design and this type of simulation where things are Adam ised into small pieces and everyone could potentially play with them is what's of interest to me and I think that there's some potential later in other projects that if we can create a simulation that's good enough fast and create it fast enough. Then we can also make it interactive and the tabletop technologies that are out there like Microsoft Surface and some of the ones that we have in the center in the G.P.U. and then begin to bring. Designers together to allow them to work together and collaborate on projects. Back to talk about what it was like to actually get this thing to the site and build it. We let's say we met that morning at like five o'clock. We knew we had all day Wednesday I guess to set the thing up on site. But. Somebodies idea was to meet at five and and just you know prepare ourselves as best we could just in case we were all pretty convinced that this thing really was going to go up in like two hours we had packed a bit of it the night before we kind of packed up to like the first one there just to make sure everything was cool and it was standing up and everything was great. So we loaded everything down to the back corner. Carl had the you already and we were kind of out of there out of here by like seven o'clock that night and I got here at five o'clock in the morning. Carl's calling saying the you all doesn't start. He's running to Wal-Mart to get some jumper cables. You know the things obviously happened that morning a few issues that we encountered along the way but ultimately we made it to Greenville the exhibition hall was I don't know how it was I mean it was for a lot of us it was probably what we expected some of us had never been in there in an exhibition hall so it was a little bit like wow this is it's very it's a it's a unique odd different place but we had nice concrete floors and black backdrops which we which we liked but the first thing we realized was that the measurement was wrong. The floor plan measurement that they had given to Jennifer was like off by three feet. So our whole structure relied on this like view through to the food court and we had to like almost immediately make a decision to like rotate the thing ninety degrees and make up a story why that was still going to make sense. It actually did though it actually enabled circulation a little bit better. I think we have a few images of just kind of you know what this was actually like when we were building and so all morning. We brought a couple panels of pent up panels from school in the hall. And all morning we just were just packing away. And just throwing up on the wall stopping to kind of critique ourselves along the way but essentially the thing that we all knew was that the little half inch ones were going to be the most structural and the one inch ones were more structural than an inch and a half ones an inch and a half ones. More than the two inch ones although for the two inch ones we were using. Eleven by seventeen paper and rolling it the other way. So this was happening kind of all morning and we got very confident and took a break in a lunch. And went to get Mexican food and came back and everyone was kind of sleepy and maybe we were getting a little too cocky but there was a lot of this going on also kind of just on the fly. You know we were still drawing we were still designing as Matt was saying there's only so much you can predict in the simulations. It was kind of important to us to make sure that people here were able to see this thing too. So we Skype it in and a lot of you saw it on the wall outside the library. We couldn't hook it up with the coffee cart but it was you know it was it was the idea was to make sure it was happening here in real time too. And so everybody could kind of participate in it. We've got to stop motion movie that I'm not even going to try to show right now because there were some issues loading and maybe we can come back to a During Q. and A or something but it essentially was a every three minutes. So when we had different people timing it throughout the day but. We would yell photograph and someone would climb up on the tripod and shoot. So we have a really cool kind of sequence of that thing going up but this is one of the things that that happened some time after launch and it and a lot of you were probably standing outside. I know Jeff texted me from. Like live. He was watching it on Skype saying my god it just so the thinking was like really starting to get wobbly we had a lot of people's hands on it at once and I think you know we were maybe. Just getting a little too comfortable with it and not realizing like the power of going on probably twenty thousand sheets of paper at this point so I love that expression. Hands on his head there. But you know. So any time something like that happens you have to adjust the end. So here you see the kind of on site thinking that was let's use those little ones those little half inch ones to be more like columns and we were actually like devising the system to let those be more structural and then kind of carefully at the very end like up on ladders like one by one sort of stacking these things with no walls at all. We got it to a point and went back to our hotel that night and came back in the morning and the thing was still standing and that whole day was like just so it was a kind of an amazing experience. I think for all of us because we had encounters with all sorts of different people then hers. There weren't really any other students but there were a lot of people from Georgia Tech that were there and just architects and general who were just really moved by this thing. It was like it was very different than the other schools Clemson U.N.C. and several of the other ones. Sort of different approaches they act exhibited a lot of work we had a class devoted to this. So I think automatically it was going to be. It was going to show that we put significantly more time somehow into it but. And you know we can get to this in the Q. and A Also but that was a really powerful moment to be able to engage with the people at the exhibition hall and actually say like it or hear them say how important it was for them to see this not just people that were tech grads it was just everybody saying like it's you know it's making me happy or it's. You know it's so creative or it's I love walking by it and there were all these people that there were these there women that just mostly just like all day would stand by this thing and take photographs of it. I mean I'm not even getting our all got somebody number at think. Acadia. But no I mean it was it was funny but it was fun and it was you know it was it felt really good. Mostly this is kind of just a zoom out to show you in context of where it was in that exhibition space and we actually built it up to its full height the next day we got to that point and we were sort of like we could collapse this thing again. And it was like nine o'clock at night and we were tired and we weren't sure what to do so we left it at a certain height and the next night did this mostly when everybody was gone but this is kind of the realized thing that we had in our minds you know. And actually got it to stand. So it felt really good and although the next morning when Carlington went back to take it down. It had already come down partially but that's just the nature of the game. You know it was a temporary thing. There were all these like this is just kind of a shot showing some of the variety of what we actually achieve through using different sizes and different organizational patterns and lighting we had a few lights that we brought with us to show this kind of gradient. And before we kind of end and go into Q. and A this is everybody that we thought of but there are probably lots of others that we just need to thank them and George especially for his time effort and investment on this our dedicated like three days of his life helping us with lots of other stuff to do you know the list. Terry for letting us use the computer but really studio for continuing to get boxed and I know that a couple other studios are there that we took advantage of but thank you to everybody and I think we're going to do questions and answers so. I guess we're talking about say. Twenty seven thousand they're going to reject Not everyone on this but yes it does work take process about what we did in terms of work and just how to work together and it was a great. But. I just kind of. After. Grab all the objects and there are twenty thousand seven hundred ninety two circles so that is kind of a comfort but I think. That might want to talk about. It's kind of a design that we're trying. The project or it was thinking if you have been able to put this is really just one small part of that so that you can get this in and have a color coded. Project this image and layers right on the surface and then it informs you where to place them so you can use it as a project for construction. Right. As your paper sort of the. One can be protected from the side and that sort of it's you're projecting this on that. Service you know where it is where you can protect it from the ceiling. What color should be the next one and maybe having some other information because it was more than just different. So different types of papers that were kind of turning like that but I think that's kind of the other way because you have to you have to have some experiment which you can't do that with a real test. Processor and I think that's where the power can come in especially in the collaborative area where everybody can work together not just one but you can screen the program a little bit and then everybody can say thanks for each.