I mean, I think, you know, we, we also, you know, years ago, we kind of developed a very simple little spreadsheet that allows us to come up with fees. And, and a lots, you know, I mean, a lot of firms, many firms most to this, probably most firms, we assign staff levels, and we know how many hours a week for how many weeks this person can work on this and, and that establishes a schedule, and we get very weak, we're pretty, we're pretty, pretty tough on those schedules. And I'm pretty tough on on making sure that we meet those schedules. So in other words, we don't, you know, we don't want to end up in a situation where we've gotten to your point we've got, we've got an x fee for the schematic design for, you know, three months effort. You know, that man is another thing we're not we're not doing schematic design for like a year. You know, that's that's not to say I, when I was a student, and I was worried about Louis Kahn's office, for example, and he would in his Vienna's students, colleagues with design buildings, you know, in schematic design for a year or two years, how does that work, I have no idea. I were happy to get three months. Which is why I think this is important is just as important to, to start at a, you know, have a strong idea. You know, just like, like any any student coming out of architecture school, what's your big idea, you have a strong idea that, that, that that organizes the organizers, the I didn't the, the design, and then just keep working on it. And so, you know, and we, we don't, we're not many offices, I think, you know, the business side of architecture, hold project managers responsible and even, you know, kind of, maybe, you know, doing them if they're not producing kind of on schedule on time on budget. And we don't, we don't take that we don't take a punitive approach. We just sort of try to create this culture of, let's all work together. We're trying to do this great thing. And I think this is another area by the way, where, you know, working on behalf of people with autism, or seniors at risk of homelessness, or whatever it might be, gives us a little bit greater gives each of us a little greater personal connection to it. As to why this has to work, right? It's not, we're not, we're not designing buildings for a Sultan in Dubai. You know, we're designing housing for people in San Francisco who are living on the street. And so, you know, I think this gets back to this idea of what, what's design excellence, you know, what, what does that mean. And this is another thing that we've been working on and trying to help. And I think that AIA national has taken on this, this, basically, they adopted the, the, the 10 measures of the Committee on the environment for design excellence, and, and we rebranded it, calling it the framework for design excellence. So this happened about three years ago, now, four years ago, my, my wife and partner Marshall made him was was one of the instigators of that at the national level. And I think that, that the, the challenge is that, you know, we still have architects who are completely ignoring that and are just doing they're still doing their thing. And, you know, again, that's great. But if every student coming out of school aspires to be the next, Eric Owen Moss, then who more or less ignores this stuff, then, you know, what, where's the profession gonna go in that regard? So I think we're trying to be one little voice of kind of an alternative vision, you know, how do you make a living doing architecture? How do you make it meaningful and satisfying? And gratifying? How do you make buildings that you're proud of, that are beautiful, that that win awards, and so forth. And that's, that's the, that's the goal. I mean, they're, they're not going to be these buildings. And I would also say that these buildings because of their budget constraints, and because of their performative constraints, which we tried to think of beauty in a much deeper way, you know, it's not these buildings don't always win Design Awards these days. Because if there's a, if there's a, if there's a jury that is specifically focused on the bespoke detail, then, you know, we couldn't afford this bespoke detail. So that's too bad for us. But that's okay. You know, we're just, we're just doing our thing.