How have you processed this kind of duality of your, your work? So you have this deep, deep connection to the natural world, and then suddenly another day you'll be in a gallery in New York or dealing with, you know, Bjarke Ingels Group or, or whatever.

Since, uh, the collaboration with, with John Pawson in the early '90s, it opened up a new world for, for Dinesen.

You know, we were a local sawmill connected to this heritage tradition, but suddenly our material, uh, spread, uh, through oth- to other parts of the world.

Um, soon after John Pawson did his, uh, house in Notting Hill, Calvin Klein came by because he wanted, uh, John Pawson to design his showroom in Manhattan.

So this, this was also a, a bridge into a new world for, for Dinesen.

So I think also at that point it was not only the architects who fell in love, but also the, the, the clients of the architect.

And since then, uh, we have been gifted with a lot of, uh, wonderful architects who want to work together with us.

Where, where do you see it going in terms of collaboration with architects?