Aker BP

The European edition of the Fortune 500, ranking companies by revenue.

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What companies are leading in innovation in Europe in 2025?

Europe's Most Innovative Companies

The first-ever European edition of the Fortune 500, ranking companies by revenue. 

F500 EUROPE 2023 AKER BP Ula-1188

Aker BP ranks 272 with $13 billion in revenue (up 129.5%). The Norway-headquartered mining and crude-oil production company has 2,462 employees and made a profit of $1.6 billion (up 88.4%).

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A generation of Gen Z founders is redefining how intelligence shows up in the world. They’re advancing the science behind how machines perceive reality while reimagining how humans connect, create, and share meaning. By blending research, storytelling, and design, these emerging leaders are shaping how artificial intelligence moves through everyday life. As AI pierces the cultural zeitgeist, they share how they’re helping to shape the future of technology, creativity, and human connection.

The Future Makers

Conferences

Welcome to Fortune, Tiara. Thank you so much for having me. I am so excited for this conversation. When we were putting this agenda together, someone on the team suggested that we should have the Gen Z perspective, and I was like, yes, I want to be the one to moderate this conversation. So, um, I am a big believer in including youth voices in, um, shaping the future of AI, and you are right there making it happen. So I I'm guessing a lot of the audience are not familiar with who you are, so I would love to give you an opportunity to share a bit of your story. But you are so impressive, you actually, when I was prepping for this, you all, I was like, oh my God, I feel like a loser. You've been named to the Time's most influential teens, Forbes 30 under 30. You're a Peter Thiel fellow, a YC Combinator, uh YC alum, Y Combinator alum, and you're the founder, co-founder and CTO of Chima. So just give us a little bit about your story and how that all culminated into you starting Chima. So I did computer science at Stanford and before that I actually have always been very passionate about research and algorithmic development. So pre um college, I won the Google Grand Prize for seminal research in AI and applying that to climate change. You, you were like 16. I was 1617, OK. And I, I've always been really fascinated about the advancements that we can make with AI models, but also applying them to real world use cases, very much with what we're seeing right now with large language models and generative AI being applied to real world use cases. So I've always been really passionate about this application layer from sort of the model layer to real world use cases and Stanford, a lot of my time was spent at the human-centered AI labs where we actually saw this rich amount of data being applied in different use cases and that really was some of the founding stories of how we started and we operate as an applied AI lab and we are backed by YC, General Catalyst, incredible angel investors, and really Focus on what we call Sam Altman as an investor. So, so what we really do with an incredible number of supporters is, um, focus on how we take these incredible models from different, uh, sort of AI labs but really unlock it in application for different enterprises. Yeah, I would love for us to just spend a few moments, um, double clicking on that. What, who's your target customer and Bring this all to life. Give us an example of what you would do for one of your customers. And so it's really interesting because what we call our target customer can range from medium to a large scale enterprise because what we really see is that as AI models right now from let's say Opus 4.5 to a GPT 5.1 get really smarter, the amount of use cases they unlock exponential. increase, but even if the models stopped increasing in efficiency and improving in the benchmarks right now, the amount of economic unlock and efficiency unlock that they provide is still incredible. And so there's still so many ways that they can be applied that they haven't been applied that even if they infiltrate every part of the enterprise is really incredible in terms of what we really do. I really understand from a very clear use case how a certain function or operation occurs in the enterprise. Think about it as a full back office process and we take it all the way from actually automating that full back office process to end to end redoing it with AI from the ground up. Interesting. So you would come into a potential enterprise and you would like inspect. Workflow and then reimagine that with AI and and it really ranges from being able to apply not just basic large language models through coding agents to also computer use agents. So everything from how do you take the best and most capable computer use agents that can actually automate RPA typical work to actually being able to go fully multimodal. So if you think about this as a Full go to market function being able to understand from let's say the research perspective having deep research agents unlock and fulfill that full end to end function to actually going fully fully multimodal. So what does that mean for uh an enterprises' full campaign as they expand it and enter an entire new market? Yeah, very cool. So you are building in an incredibly fast moving AI landscape and you're doing it super early in your career, um. Without decades of legacy kind of patterns to unlearn, so what advantage does your youth, um, give you as a co-founder? Is it your mindset, your intuition, your hustle, something else? I love that question because I think specifically being part of Gen Z and the sort of younger generation being builders is what we're actually seeing is that most young people that are building these models have an inherent fluency with how they interact with them. We're not. The truth is the younger generation. Isn't adopting AI. We're growing up fluent in AI, so we aren't thinking about coding from scratch. We're thinking about coding with a coding agent side by side, and that fundamentally changes how you write, how you take tests, how you apply to jobs or different applications, because it's not from the ground up. It's actually being able to do that. different models or agents side by side and I think what that really means is that this broad level of use cases and applications we're seeing is really being pioneered by the younger generation. So we didn't have the mobile era as as being sort of builder first, but we do have the AI era which is going to be, if not bigger than than the previous one. I'm gonna go to questions next, um. But I want to talk about the future of work. So yesterday we had a really robust conversation around is AI killing entry level jobs, and it sparked a lot of debate, and I actually want to make it personal for a second. So I have two Gen Z kids. My daughter is 22 and she just graduated from college. He's a food anthropologist. It's a thing. And my son is almost 17. He's a junior in high school. He's my AI guy. He's AI forward and, but he's trying to figure out what to, you know, what to study. Um, so what advice would you have for both of them? Well, I think your daughter is incredible and probably it's not going to take her job because I don't know, but I also think that a lot of the conversation and the anxiety around AI is because often we haven't sort of embraced that it is coming, right? The actual sort of nature. of the future of their work is going to change and what that really means is things like customer support or typical back office jobs are going to change whether they change now or whether they change in a couple of months or years. What that means with the new types of jobs that they take on is something that I think The best positioned to think about very deeply now um but with that being said, I also think that them being able to build in the space is incredible, right? I think they're well positioned to not just join other companies but also contribute to the space because. Never before has there been so many unexplored ideas and use cases with AI that they obviously we've all heard about the one person billion dollar company, um, but what that really means is they can be that, right? And so being a builder or being somebody that's excited to contribute is incredibly exciting right now with AI. Yeah, amazing. Um, do we have any questions? I can't see. Is there a question here? Yes. Charlotte. Hello, my name is Charlotte. I am with Fortune. Um, Kara, I have a question for you that I want your perspective on. We hear a lot in the media world from a lot of CEOs. Like I feel like one of the main talking points is AI is not gonna take your job, but the person who knows how to use AI does. Um, my question for you from your POV is like, where, where does that statement sort of stop and end? Like what is the meaning from your perspective behind that statement and how do you see that like in the future? I love that question because I think. Coming from some of my earliest research has been in climate change, and I think a lot of people are very familiar with the term climate anxiety, which is this idea that there's this movement of climate change coming up and we don't really know what to do, but we know it's coming and nobody is moving as fast to solve the problem. There's a similar thing with AI which is AI anxiety, which is there's literally just In the past couple of weeks been two model releases that have engulfed the benchmarks in such an enormous way that pretty much everything you've ever used AI for can now just be 10x right before Gemini 3 we didn't know what was possible. Now there's a ton of other use cases. So there is a sense of AI anxiety because if you're not consistently ahead of it or on top of it, you're kind of left behind. And the truth is that If that is the case, how can we all stay informed or use these tools every single day so that we do feel as up to date as possible. Now what that means is I'm not saying everybody has to sort of keep up to date with every model release, etc. but that does mean sort of arming yourself with a couple of different tools, whether that be I I'm, I'm not gonna. Sort of name specific ones, but if it's sort of Chat GBT or Gemini, because ultimately there are sort of some main model players are coming out and being able to use them as co-pilots and tools in your everyday life, right, because when Gemini 4 comes out, it's still going to be sort of in the Google interface, right, when the next open AI model comes out, it's still going to be in chat GBT being able. To understand and use these different tools as they expand are really key to staying ahead, right, because being able to use them in different interfaces allows us to become really familiar with them, become really comfortable with them, but also use them as they continuously push different interfaces out, um, but also not having that sense of anxiety. About it because you're sort of comfortable with them. Kiara, um, one of my investment thesis is human centric AI, so AI that creates massive economic opportunity but also unlocks human potential. You did your masters at the human centered AI lab at Stanford. What are some of the principles or values that you, um, kind of explored at Stanford that you've brought with you to the company? I think what's really interesting about this concept of human-centered AI is that pretty much every Interaction with a model, whether that be an image model like nano banana or um a sort of large language model is really rooted in human centered AI. And so we see incredible benchmarks, we see um sort of the next model improving on the on the SWI benchmark and coding agents, but really if you take a step back, what makes specific models feel different than the other ones you see this. Very clearly in image models, right? People see and and work with nano banana and multi-turn edits, and it really is because they see something in the image quality that's very different to a seed dream, right? Um, it's really diff difficult to measure the quality differences between these models and, and why that's the case is that as models and use cases and efficiencies change, the the the key differentiator. is taste. Gary Tan from which is not captured in the benchmarks around accuracy, right, right, and we see this with design. If you've ever sort of coded with a coding agent, you know it loves a couple things. Sparkle emojis is one. It puts it all over front end UI. It loves sort of shades the end sort of components in a way that um you, you know something is vibe coded if you've ever sort of worked with a coding agent and the. The the key sort of differentiator is what makes it taste and feel different, and that is human centered, which is what do people actually want to see in an AI application or an AI use case. Yeah, I would love to see more benchmarks that kind of capture that aspect of these models like the design principles and kind of the the human aspects of it and I'm involved with this MIT group. It's called Advancing Human. With AI and they are actually trying to collaborate with some of the big kind of the open AIs of the world to build these benchmarks. So it'll be exciting to see, yeah, I, I think as models code more on the front end and, and less on the back end, that's, that's going to be so important. Do we have more questions in the audience? OK. What is, um, the biggest misconception about the Gen Z, um, usage of AI? Like how do you guys use AI? I think that or think about AI. I think that the biggest misconception is that young people are using AI to not think things through. I think that like as a shortcut, yeah, I, I think that really intelligent Gen Z, um, individuals are using it to think even deeper because you can run. A deep research report on let's say parallel AI that goes on for 34 hours and what are you doing when you actually have that report on your fingertips? What does that unlock for you if you're looking at the financial market, if you've done a deep dive on your favorite sort of article or topic, what that unlocks for you and I. I think people think that instead of you doing all that work, you've now sort of handed off the cognitive load to an AI model, but really what does that allow you to think differently about and think even deeper on and I think that's the biggest misconception that people have about young people and their use of AI. I, I know, so impressive, right? So cool. So cool, um. I have to ask you this. You're a Peter Thiel fellow. Did you consider dropping out of school to start your company? Please say no because my son may listen to this conversation and. And, and I do want him to, no judging, but yeah, but I, how did you think about this? I, I think what I would say to, to, to that point is that the community that, that brings people together in places like Stanford is incredible, right? Just because, um, as we're seeing sort of model or AI applications proliferate, where it really comes back to our previous point is how people come together and build really unique things. And, and I think that was key to what is a sort of Stanford college experience. And definitely through my experience I think for his use case or his application, I think that's really dependent on on sort of what how he sort of sees himself contributing to the space building or even working with different AI models. I, I think this is such an important point because in this age of AI, I think human connections are going to be even more important and, and, and experiences and spaces that allow you to build these authentic human connections are going to be so important. OK, so you have a lot of older people in the audience today. Um, what's your advice to all of us? I would love to say that the sort of you can be honest I'm OK when we sort of have a conversation about younger people using AI models and and being really comfortable with them, it's just as important as the older generation using it because AI fluency is just as important for people that are already in the workforce. not going to teach it to younger people to use AI. And the truth is, if, if there's this sort of anxiety about it, we are just at the beginning. The models right now are as dumb as they are ever going to be. What that really means is that when you look at a couple of months down the line, we are going to be in a very Different landscape and so being able to be really comfortable with that and having your core tools that you use um and and and get comfortable with that is really important because we're sort of at the beginning. It is only going to get faster, more advanced and more intelligent each and every model from from here on out. So being. Really comfortable with that is, is no AI anxiety, you guys. Kira, thank you so much for this wonderful conversation. It was great. Thank you.

Natasha Lyonne has built a career bending time, genre, and logic, from Russian Doll’s supernatural loops to her new frontier in artificial intelligence. The actor, filmmaker, and cofounder of Asteria Film Co. is using AI tools to create ambitious and visually rich films on independent budgets without compromising artistic integrity. Lyonne shares her perspective on how AI is reshaping Hollywood, what it takes to build the first copyright-clean filmmaking engine, and why the future of art depends on staying grounded, collaborative, and human.

The Human in the Loop

How does a company founded in 1908 survive the breakneck speed of the 21st century? For Shilpan Amin, General Motors’ global chief procurement and supply chain officer, the answer has been forged through crisis leadership and quiet reinvention over nearly three decades inside one of America’s auto giants. He joins Fortune’s Ruth Umoh to reflect on how mentorship accelerated his career, what it takes to move with speed inside a massive organization, and why supply chain risk is one of the few things that still keeps him up at night.

How America’s oldest automaker is tackling tariffs, electrification, and AI | Next to Lead 

Leadership

How does a designer and a maker work together when they have to furnish large spaces under pressing deadlines and budgets? How do they balance between ready-made pieces versus customized ones? Hear from a principal at an internationally renowned architecture and interior design firm and the CEO of a company specializing in high-end furniture.

Customization at Scale: How Designers & Makers Collaborate

Now on some more places where we like to relax, restaurants, bars, and hotels. Our next conversation revolves around the dynamic relationship between designers and makers who furnish these spaces. Tina Norden is the managing partner of Konrad and Partners, the renowned architecture and interior design practice founded by Sir Terence Conran. Dyke Hironaka, CEO of Stella Works, heads up an international brand known for their contemporary high-end furniture. They discuss how they collaborate under time and budget constraints in the fast-paced hospitality industry and provide customization at scale to make their environment feel distinct, elegant, and evocative. Please welcome Tina Dyke and Tony Chambers for this session. Please join us. Hello again, everybody. I hope you're enjoying the sessions so far. We have a great one now, customization at scale in the hospitality industry. So I know we're all very familiar with enjoying the benefits of well designed hotels, restaurants and bars, but we're going to dig into the The making of such places and the complicated and nuanced industry that makes up that great industry. We are joined by Tina and Diske, and I thought it would be useful if we start with an introduction to your both of your companies, your businesses. Um, to give the background and the origin stories of who you are and what you're about. So I think let's start with you, Dia. Tell us about the origins of stellar works and what your unique selling points are. OK, thank you very much for inviting me for this event. So it's a great honor. So my name is Take Hironaka. I'm a CEO of Starbucks. So Starbucks is a Japanese owned furniture company based in Shanghai. And we have a mid-size factory co-owned with the French manufacturer. With about 120 workers. And 80 of his staff. So we also have sales offices in New York, London, Amsterdam, and Tokyo. So we learned two main businesses. Custom made furniture and the furniture collection. Each accounting for about half of our business. So we focus on the hospitality industry. Uh, business, uh, uh, business model is unique because we can provide affordable custom-made furniture for hospital project. While also offering our own original brand. Our production aim to achieve the finest furniture, furniture through a Japanese quality management system. French technology. And Chinese craftsmanship. So this is a brief introduction for Andy, from what I've known of the brand for many years, 2012, is that right? the brand was founded? Yes, brand, it started from 2012, yes, and you hinted at it, but I think it is so significant. Japanese origin, but headquartered and made in Shanghai in China, to this very, very high spec. And you brought in the French historical French cabinet maker Laval to bring in some of that know-how of making with training and using Chinese craftsmanship, and I think that made such an important statement to the design world that China does high quality at a time when there was a misconception that it only produced lower quality. So I think it's a significant. Message, but also a combination of three different cultures and methods of know-how. And here's some examples of the hospitality work you've done and your business, as you said again, is twofold. You have a collection where you work with great designers globally, but you have the bespoke elements where you make furniture. Specifically for particular projects and work with great design companies such as Conran and Partners and Tina here. So Tina Tell us about the rich history. And the origin story of Conran and Partners and of course your charismatic and hugely influential founder Terrence Conran. Absolutely. So, um, we're an architecture and design practice, um, born in London about 40 years ago, and founded by Sir Terence Conan, who was actually a furniture designer and fabric designer to start off with. So as a studio, I think we have very great empathy and understanding and respect for furniture design and for the detail and craftsmanship that goes into that. And from that, we've gone on to design restaurants, of course, then hotels, residential, etc. um, but we come from that kind of foundation of kind of touching things, making things, and, and, and understanding how people utilize their space. Um, about 7 years ago we opened a studio in Hong Kong, and we've always done a lot of work in Asia. That's kind of where our heart lies in many ways, starting off in Japan and then coming into Hong Kong and the kind of greater Far Eastern region really, um which I'm looking after and I have a fantastic team. In Hong Kong that supports me with that, but our studios very much work collaboratively. That's one of the themes today, of course, and between London and Hong Kong, and we like the fact that we get the kind of the European design houses and Asian heart kind of vibe, and that means that we can address briefs in both continents really that we're operating in, you know, very carefully and with a lot of thought and with a lot of understanding of how people want to kind of engage with their spaces and how they wish to live. So, um, most of the projects that, that I'm sharing with you today are actually based here in Asia because we felt that that was most relevant, um, and all of them are of a scale that we can really kind of craft the environment and really kind of pay attention to how people engage with their spaces. Um, and something that was said earlier about OA actually, um, really resonated where he was talking about architecture actually ultimately creates spaces for people and I think that is. Even more true for interior architecture that we I mostly work in um but really it's about a people-centric experience and of course technology helps us getting there but fundamentally it's about what you see and what. It's about people. It's about the experience that people have and the huge influence that design. And furniture in particular and environment has on you as a as a customer. These we whizzed through some beautiful projects again. These last four are collaborations you have Stellar works and Tina have done together. There's 4 images here and this is where I think is a moment where I think it would be useful to really explain how this relationship works and how this collab collaborative process works. A hotel project or a restaurant or a bar. How, what is the origin of that? Where's the procurement? Is it the owner of the place? Is it another department? is it is it who starts first? Is it the designer that then approaches a manufacturer such as Silhouette? Is it the other way around? Is it somewhere in between the two? I mean, the ideal case scenario should be that the vision originates with the designer. Um, and that we then collaborate closely with the people making it, so that would be the kind of the, the ideal story if you like, but there is a dark horse called procurement in our industry that I think all of us as designers are very much familiar with and the, the, the, the process is not often as linear as we would like it to be, um, and, and at times we even get kind of slightly cut out of that and something comes out on the other side that Wasn't really what we were expecting. So the idea, the ideal route really is that there is a close collaboration between the people designing and the people making and then of course also understanding what the financial aspects of that might be because that's where procurement of course comes in and that's where sometimes things can go slightly awry. And elaborate on the issues with that. You have a vision that may be the person who's commissioned you has a vision, but then there's an intermediary that might Cut this vision. That's right. I mean, basically, you know, I think every designer will understand what I'm talking about, you know, we designed something that of course needs to be built and there's a cost attached to that and that at times it's, it's difficult for us to, to estimate because different countries do things differently. Procurement works different, differently, you know, some things are more expensive in some countries that are cheaper somewhere else. So it's a difficult one for us to, to, to fully gauge. And also, quite often we're not necessarily being told what the budget of a project is, uh, which seems crazy, but it does happen more often than you think. So we are often in a situation where we are over budget, you know, the dreaded VE that happens, and how do we make things happen according to our vision? That's where procurement comes in, purchasing things. That's what procurement is basically, um, and, and often that's done by agencies, sometimes it's done by by the clients in-house, but Obviously these are money people and um you know, if you have many people that have an understanding of design, then you're, you're good. If you have many people that that don't, then you end up with something, well, this is a chair, what's the problem? And when there's a big difference between this chair and this chair and how it's made and how it's crafted and how it lasts. And do you think we're still in a d scale or you know both, we're still in a period where there needs to be more education on the value of good design and the effects and the positive value that good design has to prevent this potential problem of the person involved with procurement not really appreciating it and cutting costs, I think, you know. The bigger, uh, bigger projects, so, you know, they are focusing on the budget control. So, of course, you know, everybody wants to have a good quality of space and also furniture. But yeah, so because of the, you know, budget issues, so you know. Sometimes uh designer don't know, don't know. So who is the manufacturer? And there's a very small communication between manufacturer like us and then designer, but we believe, you know, to have a better quality in a product that in a communication is very, you know, very much needed. So. Yeah, that's something we need to improve. So yeah, and it's not just aesthetics, of course, it's it's efficiency, longevity of the product. I mean, to me that must be, it seems it would be an easier message to communicate, but again there are different complications of I mean, projects are very complex, you know, and, and the type of projects that we all kind of get involved in hotels, for example, you know, we said earlier, 5 years, 7 years until the hotel completes, it's a very complex kind of product. And so you know there are so many factors that come into that and one of them is that often you have people investing in the hotel that maybe are not going to be staying involved for a very long time. So what that means is that there's the capital investment when you're building something and there's a life cycle cost. And I think nowadays, particularly when you think about environmental concerns, we should be thinking about life cycle costs. So if you're spending a bit more money on good quality furniture, flooring, whatever it might be. Arguably it should last a lot longer and so it's much better value for money. It's better for the environment. You don't have to replace it very quickly, all of these good things. But of course if you have an investor who's mostly interested in producing the hotel, whatever it might be, the asset, and then selling it, they won't be so interested in the life cycle costs because that's someone else's concern. And I think what we need to do as an industry, talk a lot more about those different aspects and about the life cycle as well as the capex to make sure that we get true value for money in our project. And you see that as well, this, this issue you are producing furniture that has a life, a long life cycle that is core to what the brand is about, but you find issues where maybe people are not appreciated and maybe want quicker change. Yeah, so if you, you know, the owner or procurement company just, you know, pick up the the cheapest manufacturer, so you know, who has less experience about engineering. So maybe you know the owner need to, you know, uh uh pay a lot of money for maintenance or maybe even they need to change 3 times in the 10 years. So we need to think about, you know, the, the life, you know, the long life of the product. So this is a, you know, a good for benefit for the owner side also. And of course it reminds me there's the thorny issue of cheap copies, which is an eternal issue with design. Again, is that how do you convince a client, a procurement department that Stick to originality, invest in innovation. We need new things and better things. Tina, is that an issue you face? I mean, we, we try and have the conversation with our clients right at the beginning. Are we buying furniture or are we making furniture? It's a very, very important conversation and you know, often that's avoided. So we try and understand that at the beginning. If we are specifying furniture, then, you know, the rangers, for example, you saw some of the projects there that were pieces of furniture that can be bought off the shelf. The joy for us as designers is it's done. It's a chair that's designed that's comfortable. Someone tested it. Some worked on it for years to get to that point. We don't need to worry about it. And when there's something that's made bespoke, there's a lot to worry about because there's a huge process we need to go to to make sure that that particular chair is equally as good and equally as comfortable. And that's where, of course, you know, manufacturers like Dasu come in because they can help us as designers when we're busy doing everything else around it and to actually focus in on that. and making sure that the pieces that we design can actually be build um are affordable and are comfortable and all of those kind of. So this is where your relationship is key. The designer with the manufacturer, you have a concept, you have a vision, you know how things are made as well, but there's an expertise here with a, with a company like Cella works and Ice G um, to ensure that that new piece of furniture. Stands the test of time and is steady. Now, we are talking about the future, future tense and prototyping. The future and AI, of course. I know it's a difficult area in the creative industries, but for you. You are using AI workflows to help, particularly in this area, I think where it's an engineering problems. Is that right? Uh, so actually, you know, to be honest, our industry is quite behind about this kind of, you know, uh, technology, but, you know, me personally, I want to try to use AI for engineering part. So for instance, You know, we have a lot of uh custom made projects. Every single hotel project, you know, there's a lot of, you know, 100 to 200 pieces of different type of furniture. But every furniture we design, you know, uh, we, we need to do the make a drawing in a fast time for this only one chair or, you know, cabinet or something. So, uh, but you know, we have a lot of archives. You know, we designed a lot in the past, but if AI can use this kind of archive and study and then help to to uh to do the engineering, so that makes more uh helpful for designer also and then for us, you know. So the for the project you know timeline is also one of the big issues. So if it can help, so time will be more shortened. So give us an average, an average timeline for, for example, one hotel, uh, 200 pieces to make a, you know, all short short drawing, maybe it takes 1 month to maybe 45 days. But it's quite long, very, very long time actually, 45, yeah, but yeah, so, but if you use AI maybe we can, you know, shorten this time so. So it's, it's helping you. A is helping you on those more practical behind the scenes way in the design industry there is an anxiety about AI, about again sophisticated copies being able to design, but you have strong opinions on that, I think, you know, I think it was actually said very eloquently this morning already and people talked about, you know, what AI can do for us and where humans are still very, very important, and I completely. Support that. I think there is something about the human touch and about understanding how we like to use our spaces, how we enjoy space, how we perceive spaces that that will always be there, but AI should be something that can assist us getting to that point quicker because that's what we all need to do. There's a lot of kind of, you know, pressure on fees. There's a lot of pressure on programs. So you know, that's where we as designers, where we like to procrastinate and think about things for a very long time and kind of get it just right, where we can get some help in doing things. And I'm talking probably more about the not menial tasks, but the task that can, you know, that that that take a long time but don't necessarily need ultimate creativity if that makes sense. Research is one of them, adjusting things, you know, three dimensionalizing things, you know, looking at, you know, pieces we're designing in three dimensions, you know, quickly and fast. That's kind of that's that's where we're really excited to kind of and I would imagine where you are communicating a concept. Absolutely, even though, you know, presentation. In particular, you know, I found that if you can't present in person, you're already on the back foot, you know, it's great doing things via VC, but there's nothing better than being in a room with people, seeing someone's face, seeing someone's reaction. They're starting to play on their phone. They're clearly bored. You've got to move on. You can't see that on a VC. So I think that kind of human interaction, particularly in the design process, is really, really important, and that of course feeds also into working with, you know, our various partners and our, you know, our, our makers and, and, and, you know, furniture designers. And looking to the future on a more practical level and avoiding not necessarily technology plans for you to in the near future, are you working on more projects. We see 4 beautiful ones there, but is there an expansion? Are you after today, will you be knuckling down and thinking of projects for the future? Uh, for me, so, you know, as an Asian furniture manufacturer, so, uh, actually, uh, let's say, uh, in the world hotel project, around 80%, uh, furniture is coming from Asia. To the hotel process in the world and then within that maybe 80% is being made in Asia in Asia, yeah, yeah, and then so I don't have a, you know, specific number, but I feel that around half or more than half is a copy. Unfortunately, but you know, if we, uh, you know, we have an attitude that we Believe design is a value, you know, so then, you know, a lot of the uh manufacturer in China or Vietnam, they, if they realize, uh, you know, designs are more important for their business, so I think, you know, this copy issue will be decreased in future. So this is something I want to contribute. So is this your mission to communicate? Yes, the value of Not only well designed products, but very well made product is good for business, and I think that's a great message to end on. Thank you very much for sharing your insights on this beautiful world of hospitality and restaurants, bars, and hotels, and how you collaborate together to get the best results. So thank you so much, Tina and Dike. Thank you.

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