01x08 - The Arch Journey, When Inspiration Strikes, Lessons Learned, Curiously Curious

[bunniefuu]

♪♪♪

KEANU: Every big idea
begins somewhere.

Every breakthrough starts with
someone staring at a blank page.

But the true visionaries among us
see that empty page as possibility.

OMAR: Sometimes I'm just sketching
lines, and I don't even know

exactly what I might be
trying to illustrate yet.

Right, and you're just trying to
get this shape out of your head.

It goes into your shorter lace.

- Let's do three. Three lace.
- We'll do three.

KJETIL: So, you need to start from
totally different perspectives

before you move on to
the white sheet of paper.

Analyze things and look for things
that no one else would be looking for.

♪♪♪

GARD: On this
journey of curiosity,

seven innovators revealed
how they push boundaries,

challenging the conventional.

♪♪♪

Is there a seatbelt? [chuckles]

- Strap yourself in.
- Strapped in.

♪♪♪

Where do you think your
creativity kind of stems from?

Connection.

I know that creativity
is a muscle.

If you don't create,
it can dry up.

♪♪♪

MATTIE: Nature is always
inspiring innovation.

Entire architectural designs
have been based on concepts

that can be found in nature.

- What's going on in this crazy funhouse?
- [laughing]

We might physically
manifest this other world.

♪♪♪

TIM: You get one life, so make
something really interesting,

uh, that will
inspire more people.

I feel like half my goal of
Relativity is to inspire more people

to go after more
ambitious, creative things

that push the boundaries
of what's possible.

This is a great example of 3D
printing making possible...

- Yep.
- ...that you can't do

in other manufacturing forms.

- Yeah.
- [rumbling]

KEANU: Their approach to design
and their way of thinking helps us

to shift perspective and consider
what's possible for Arch.

♪♪♪

GARD: I've been thinking a lot
about, like, just from the beginning,

the people we've met, the
experiences we've had,

the sort of curiosity,

but the whole reason
for doing this.

Where does creativity come from?

You know, and maybe
what everyone had

that we've met was a vision of

how do we complete
what we've started?

How do we...

How do we continue with what we've
learned and... and who we are and...

GARD: Anything that comes
before the blank page?

Anything after the blank page.

I mean, the blank page is
a canvas for the beginning

of the expression of the idea.

- You're on the right path.
- Right?

[chuckles]

♪♪♪

♪♪♪

GARD: Every design takes
on a life of its own,

often inspired by
the world around us.

Perhaps no one
understands that better

than Ocean X partner
and visionary filmmaker,

James Cameron.

- KEANU: Hello!
- Hey, Keanu. How you doing?

- I'm well, James. How are you?
- Uh, pretty good. Pretty good.

James, I'm Gard.

- Good to meet you.
- Likewise.

Doing this, uh, this program and
this idea of searching for where

human creativity comes from
and... and human ingenuity, um,

people don't always
automatically connect the idea

of science to creativity,
but clearly...

- Right.
- ...this is what you've done.

Can you speak to sort of, like,
how you made that connection?

It probably came from being a kid
and reading science fiction, right?

I mean, we're all science
fiction fans here,

and it turns out that a lot of scientists
grew up on a diet of science fiction,

because in order to
appreciate science fiction,

you have to... you have
to know some science.

Um, and science fiction
is a way of saying,

well, with what we
know about the universe

and how things work and
how technology works,

what might... how might
that impact our lives?

How might that impact society?

It's asking a lot of
really important questions.

And yeah, sure, it's fun.

It's adventure stories, other
planets, and things like that,

but you also learn
a lot from it.

And it seemed to me that
people get inspired by...

by science fiction in
a lot of ways. Some...

Some will go write
science fiction.

Some will go do science fiction
in film or in games or whatever.

I was inspired by science
fiction. I loved science as a kid.

To me, they were all one thing.

Space. It's almost like the oceans
have become our new space frontier.

Like, so much is
unexplored of the oceans.

- Yeah.
- But can you speak to your impulse

of being interested
in the ocean?

- Yeah.
- Into the depths of the darkness

and the unknown, sir?

In the '60s, I convinced my dad to
get me into a scuba diving program.

And this was in
February in Buffalo

as a 15-year-old
little skinny kid

with this gigantic tank and
this gigantic regulator,

you know, learning...
learning how to scuba dive.

So, that was me literally acting out,
in a sense, a science fiction fantasy.

Like, I might not be able
to go to another planet,

but with what Jacques
Cousteau was showing us,

there's a whole other planet

full of incredible alien
beings right here on earth.

Let's go there.

KEANU: Like, that's part of the
connection or connective tool

of looking at something and
seeing how do we interpret

how it arised and what's its
function, and what is nature doing?

- Yeah.
- And that helps us see.

It helps us make sense.
It helps us explore.

We're curious animals. We're
curious monkeys, you know,

and... and, uh, the people
that act on their curiosity

become scientists or explorers.

So, you guys... you guys are
doing this, uh, this crazy show.

It sounds like a great project.

The show will be
watched by millions.

You know, even if one in a thousand
or even one in 10,000 gets inspired,

that kind of is the apex
of what you dream about,

kind of aspirational
for the audience.

Much respect. You're an
inspiration, sir. Thank you.

- [laughs]
- You are, man.

I'd... I'd love to do it all again. I
got to finish the next "Avatar" film,

"Avatar 3," which I'm in
the middle of right now.

So, you know, like...
like you, Keanu,

I have to sort of balance my...
my... my career against my interests.

Ebb and flow.

Yeah. Ebb and flow.

Ebb and flow, and... and
hopefully we can do it all.

- See you, man.
- See you, guys.

♪♪♪

GARD: Innovators like James
Cameron possess a singular vision

unique to their way of thinking.

As we met other visionaries,

it felt as though they were
all in some way connected,

sharing a kind of universal DNA,

maybe even unknowingly
inspiring one another.

♪♪♪

MATTIE: I know that the
deep sea environments,

and especially the extreme
environments in the deep sea,

the hydrothermal
vents, the brine pools,

like, these are the harshest places on
the planet, and you still find life.

And I'm just so impressed by that, and
I take a lot of inspiration from that.

OMAR: I 100% am inspired
by the world around me.

That's where the real
magic comes from.

Where the creative
magic comes in is

how do you take that and you
actually incorporate that

into something, um, physical,

into a shoe, and are
able to storytell?

IGOR: And we see so many different
things in our life, you know,

different buildings,
different artworks. Uh...

So this is... this
is something that

fulfill... fulfills
me also a lot.

KJETIL: It could be
music. It could be poetry.

It could be, uh,
nature and landscape.

It could be the wind.
It could be the sun.

It could be the moon,
like, materializing

certain elements of...
of discussions, visions,

and... notions of life, maybe.

JAMES: Part of... of
my work is sort of just

making the emperor's
clothes visible,

making what we don't
normally see all you see.

And now I say that
creativity is a lot more, um,

more to do with
those coincidental,

those things that can
just be happenstance.

I just think this cyclic
loop between art, inspiration

does push people in... in society
to go do really cool things

that then actually inspires
artists to make even better art.

And the more you create, the more
you have the need to create more.

And the more you spend time
kind of coming up with ideas,

then ideas just
start flooding in.

And I just love that... that
with art and creativity,

it's endless, uh, it's infinite, and
I can always get better than I am.

♪♪♪

GARD: It's interesting to think
about the early experiences

of a lot of these people

and how it may have
influenced what they did,

right, like Paige.

Art warrior.

♪♪♪

When someone sees a work
of... of art or a sculpture

and it touches them in a way

and transports, and it's
a kind of mana, isn't it?

And without that, I mean,
if you take that away...

[exhales deeply]

♪♪♪

KEANU: Paige Bradley's process was a
master class on how harnessing emotion

and allowing feeling to guide design
can create something wholly original.

I read a biography of Michelangelo,
and he said that every human emotion

can be portrayed
through the human body.

♪♪♪

The figure, to me, from
the very beginning,

was my way to
connect with people.

I felt like the best way to
tell about the human condition,

the emotions, the feelings
that are inside of us,

are to use the human body as the
vehicle to communicate those feelings.

♪♪♪

I wanted to use public
sculptures as the place to meet,

the place to sit at and watch and
ponder when they're having a bad day.

I really feel like that's what makes
the artwork meaningful, lasting.

It's the people and the
way they feel about it

that makes the artwork great.

♪♪♪

- GARD: I gotta show you something.
- KEANU: Okay.

- [chuckles]
- Oh.

Oh, wow.

Wow.

- It's heavy.
- It's two hands.

GARD: That's crazy, huh?

KEANU: It's beautiful.

♪♪♪

GARD: It's so interestingly
accurate. I mean...

That whole sort of posture
where you're leaning,

but you're sort of...
- KEANU: Yeah.

GARD: ...fighting against it,
and then his head tipping in...

KEANU: Looking in.

GARD: ...is so much like
the experience, isn't it?

Mm.

♪♪♪

GARD: I mean, interesting
she could capture

the feeling and the emotion,
never having done it.

KEANU: Mm.

♪♪♪

The shape of the motorcycle, having
to sit on it, which is a form...

- GARD: Mm-hmm.
- KEANU: ...of the function of riding...

- Yeah.
- ...created this kind of energy

through Paige's talent,
became momentized.

I guess that's her gift,
is to be able to understand

what the human body does
at any... in any position.

Mm.

- KEANU: Makes me want to go for a ride.
- GARD: Yeah.

♪♪♪

[motor revs]

GARD: While Paige showed
us how speed and feeling

can fuel quick and
honest results,

Omar Bailey demonstrated a
more methodical approach.

His collaborative design process
at FCTRY LAbs mirrors ours at Arch,

but he helped us consider how we
might rethink the development process.

- OMAR: We use miniatures...
- KEANU: Mm.

...as, like, as a... as a tool
through the development process,

so instead of wasting time
in building a full sh**t,

we'll build it in 3D and build minis
so that we can get a quick look

at what... at what
the proportions are

and make changes and go through
doing a series, um, of them.

- This is actually a $750,000 3D printer.
- Yeah, that's amazing, yeah.

- Pretty... Pretty crazy, right?
- And time machine.

Yeah, and time machine.
And time machine.

- Absolutely, so...
- This came from the future.

[laughs]

The lab itself represents the
ability to be able to experiment

and fail and fail fast,

learn quickly, and understand
what you need to do

to go forward to execute
your... your final idea.

♪♪♪

KEANU: Are there people using
additive printing for footwear?

OMAR: Not many. It's not something
that a lot of other brands do.

I mean, this lab in
itself is very unique.

What we've done is we created
a space where we can work

with a lot of other people who have
aspirations in getting into footwear.

GARD: What a thoughtful...

- Mm.
- ...lovely young man.

- Creating opportunities for others.
- GARD: And passion.

- And passion.
- It's like you can feel the passion

oozing from him
for what he does.

- And the technical.
- Yeah.

You know?

Somebody sent you some shoes.

♪♪♪

GARD: I don't know if they're your
size or not, but that's so cool.

- They definitely did different texture.
- Mm-hmm.

He gave me some shoelaces.

I mean, in terms of, you
know, what we spoke about

at his atelier, the studio,
I think this is pretty,

you know, pretty successful in terms of
representing what we had spoken about.

I can see how this
is really helpful.

Yeah, for sure.

Look at surfaces
and lines and...

GARD: Does a slip-on
motorcycle boot really...

Is it practical from
a function standpoint?

- 'Cause if you can slip it on...
- It could slip off.

If you fall down, it
could slip off, right?

Hence the lace.

- Give it a tug.
- Okay.

So, they... they need
to be functional.

- Little bit, I think.
- Yeah.

Carbon fiber into some leather.

♪ These boots are
made for ridin' ♪

[Gard chuckles]

♪♪♪

KEANU: When we design a motorcycle,
it can be a long process,

from the idea to the first ride.

It's one that equally considers
performance and aesthetic.

Every visionary we met
wrestled with that balance

and offered a fresh view on
how to think about them both.

OMAR: What Gard and
Keanu are doing,

I wouldn't necessarily say that automotive
and, uh, shoes are worlds apart.

When you look at the shapes
and forms in footwear,

there are a lot of shoes out
there that are inspired by cars.

And, I mean, I saw it in, you know, when
Gard started sketching and rendering.

I'm like, that is 100%
an industrial designer,

the way that his mind works
and the way that he thinks.

And the thing that I love
about this process so much is

it's sort of designed with
a bit of engineering...

♪♪♪

...where you're really
trained to think

about how the product is
built and put together.

You're thinking about the
materials and processes.

You're thinking about finishes.

You're thinking about
form follows function.

♪♪♪

[motor revving]

Not one project looks exactly like the
other, so it doesn't become a style.

Style in itself is that it
is reacting contextually

to the place where it's
actually happening.

♪♪♪

GARD: Every creator approaches
design in their own way.

When we traveled to Norway
to see Snohetta's work,

Kjetil Thorsen shared
a unique perspective,

incorporating the environment
seamlessly into his projects

and embracing obstruction
as opportunity.

KJETIL: So, this is one of the first
projects we did... fishing museum.

♪♪♪

It looks almost
like a tackle box.

You have to imagine these fishermen
kind of taking a leap into the unknown.

Kind of beautiful uncertainty.

If you think of
architecture more than...

uh, something that is based on
four walls and a pitched roof...

If you think of
architecture as something

that is kind of exploding
out of the context,

that come as an inspiration from
outside of the profession...

It could be the wind. It could
be the sun. It could be the moon.

All these things come together.

The starry sky can be an inspiration for
type of view that you want to express

to bring nature into the building
or bring the space out into nature,

this interactivity
between the two.

♪♪♪

GARD: Kjetil talked a
lot about his experiences

and with nature and about how
he didn't feel comfortable

when there was no wind, which I
thought was really interesting.

And in a way, when he said
it, I was like, oh, yeah.

Like, maybe that's why I feel
so comfortable on a motorcycle.

Like, sitting isn't so comfortable,
but riding a motorcycle is like...

- KEANU: Mm.
- ...home.

[wind blowing]

So, maybe he created

livable structures against
the hardship of the elements

and elements that he also loved.

You know, I'll protect you from
the wind in the rugged world,

but I don't want to take
away the nature of it.

♪♪♪

KJETIL: I think, you know, the...
the more classical educated you are,

the more classical solutions
of work comes out of your head.

So, in a way, it's
a matter of freedom.

It's a matter of being
able to define and redefine

things that you believe in.

I'm always interested in...

"creators' toolboxes," you know?

Like, but they all have it.

Kjetil... it seemed
like part of his toolbox

is this collective of other
humans and their ideas

and this collaborative
process, you know?

And they made this...

...really cool deck for us.

"Arch Motorcycle Concept
Workshop Summary."

- Boy-ee!
- [chuckles]

"In this workshop, our goal was to
explore a conceptual foundation for Arch,

which could expand
into new directions

of possible designs,
architecture, and spaces."

GARD: He drew on a
napkin the idea of,

if he was designing a factory
for us, what it would be.

- Mm.
- And it would be over a little valley.

- Things would start coming in this end.
- Yeah. That's great.

And then by the time it went
there, it would be a motorcycle.

It's great to workshop with... with
ideas and outside perspectives.

"During our workshop, we examined
the elements of the human driver,

the motorcycle engine, and
the natural environment.

Concept: Keystone, which
is about the relationship

between memory,
place, and desire."

Oh, my gosh. Keystone
could almost be creativity.

Mm. Yeah. I mean, Kjetil talked
about how you remove the keystone,

and the arch collapse.

Sort of the idea of you
need the keystone in society

to maintain its
structure, you know?

Yeah.

Maybe at Arch,
we're the keystones.

You're keystone number one.

- [chuckles]
- And I'm keystone number two.

- A pleasure, sir.
- Ah, no, the pleasure's mine.

[both chuckle]

♪♪♪

GARD: While Arch has always
been fueled by curiosity,

it's also about
enjoying the ride.

And this adventure delivered
a few unforgettable moments.

When you first saw the crater, was
it from the ground or in the air?

JAMES: In the air. I spent seven
months flying all the western states.

GARD: Okay.

I landed out and spent the
night up in the top of it.

So, the first time you
saw it, you landed?

- Yeah.
- And then you just had a bedroll

or a sleeping bag or
something and went up?

Yeah. Yeah. You open the door,
and the helio is on this side.

Have the tent going to about here,
and then you have a little overhang.

Flying camper.

- It's just terrific. Yeah.
- Yeah.

And you have your basket with
sandwiches and champagne.

- And wine.
- And caviar.

- [laughs]
- KEANU: Let's live.

Well, thank you for showing
us some of your toys you love.

- These are not toys!
- I'm using it as a...

I hate it when people
call these things toys.

- Why? Really?
- People are like, "Oh, this is your toy."

- Why is that bad?
- What is a... what is a toy? No.

- Why is that bad?
- Because it's...

- What did you have when you were a kid?
- Because it's demeaning.

- No, it's not.
- It's like a childish...

What's wrong with being childlike?
What's wrong with having a toy?

Okay, fine. Say to James, "Thanks
for showing us your toys."

I just did.

[laughter]

JAMES: Keanu sort of...
he sort of chided Gard

at calling these things of
mine my toys, which they are.

I mean, they, you know, they
are these things we play with

or have this oddly
serious involvement with.

They are toys. [laughs]

- Anyway...
- Okay.

I mean, I guess other
than breathing, eating,

safety, health... love,

the rest is gravy...

[laughs]

- ...and toys.
- Yeah.

♪♪♪

KEANU: How and when
does inspiration strike?

How does it materialize?

Each visionary we met
found it differently

and helps open our minds to
new avenues of discovery.

TIM: I think I've always been a
little bit of a sensory junkie.

I'm definitely very into
music, mostly electronic music,

mostly because it's
so intensely sensory.

Like dubstep, bass music, house,
trance, it's really energetic.

Like, to me, it's
actually very inspiring.

Like a lot of the...
the music, like,

you know, will have samples
from people like Alan Watts.

He's this great philosopher, you know,
philosophy I personally care about,

which is, you know, this idea that
life is just what you make it.

And... And many things and...
and many boundaries are illusions

that are just not real
boundaries or barriers.

♪♪♪

[motor revving]

Taking these other experiences
and, you know, thinking about,

how does that feed
everything else?

Akrapovic, right? The sound
with it being in his room.

♪♪♪

Listening to sound and
hearing the note of an exhaust

and knowing whether or
not it's working properly.

[motor revving]

I think Igor has no limits.

For him, it's, uh, "impossible"
is not an existing word.

♪♪♪

KEANU: Tim was talking
about his experience with...

with the sound
and the concussive

and being kind of taken away in
that, losing himself in that moment.

It could impact you so much
that your eyesight got blurry.

- [chuckles]
- And he just smiled.

♪♪♪

So, you're in the middle
of the Mojave desert.

We were standing a few hundred feet
away from this solid rocket engine

that, uh, students had built,

and they lit it up,
and fire came out.

And then just suddenly
you're hit in the chest

with the loudest, most intense
possible feeling you could imagine.

You know, as a sensory junkie, I got
hooked on rockets instantly after that.

MAN: Liftoff.

TIM: At this point,
it's not just

a 3D-printed rocket or
a methane-fueled rocket.

Now the ambition is building the next
biggest rocket company in the world,

because if we're gonna make Mars
happen, we can't do it if we stay small.

I think, as I learned in
hindsight, printing a rocket

maybe wasn't the easiest
first thing to print,

um, but it was a really
challenging application

that meant we had to figure out,
uh, how to get the tech to work

in a very difficult
and precise thing.

♪♪♪

So, this is one of the, uh, 3D-printed,
uh, rocket engine nozzles for Terran Rs.

These are some of the largest metal
3D-printed parts on the engine.

Nobody's ever done anything this large
to this level of complexity before.

♪♪♪

Part like this... so, we can
print two of these in six days,

um, where, traditionally,
manufacturing something like this,

because you had to build
it in separate pieces

and weld them together,
maybe five, six months.

So... so, really, that's one of the
reasons starting Relativity from scratch,

it was really important because

you can't just take a traditional design
that exists and... and go and press print.

You actually need to design for
printing from the very beginning.

And, uh, you know, we will just
continue to turn out hardware.

That's pretty cool. It means we just
see the future happen a lot faster.

It, uh, it feels good
to say that, by the way.

♪♪♪

What my unreasonable drive comes from
is just this idea that creativity

is something that I can actually
forward on to other people,

inspiring other people
to take similar risks

and say I was willing
to put myself out there

and really, um, just
live authentically

and do something that
was freaking crazy.

♪♪♪

- GARD: You saw the part, right, that...
- KEANU: Yeah.

...they offered to print
for us, which is amazing.

KEANU: Yeah. It's beautiful.

- GARD: [chuckles] It is beautiful, Yeah.
- KEANU: it is. It's beautiful...

the contours, the shape.

So, the part he printed was one of
the skins from the... the cover,

the fuel cell on the Method.

KEANU: First of all,
what was the material?

GARD: Inconel, a type of stainless,
but can withstand super intense heat.

It could sit underneath a rocket engine,
and it would still be there just hot.

I think they said it took two
and a half days to print that.

KEANU: Uh, taking a technology
and then pushing it...

pushing it to expanding the boundaries
of what it can do or be expected to do.

GARD: If I could think
of it, I could do it.

KEANU: Yeah.

It's almost like,
what can't I do?

♪♪♪

KEANU: While many artists and
innovators draw inspiration

from the world that
exists around them,

there are a few who
look much further

into the unknown...

...and the world
we've yet to discover.

MATTIE: 99% of my job, um, on the
ship involves me going to an area

that no human being on the
planet has ever seen before,

because so much of the
deep sea is unexplored.

TIM: If we wanna go to Mars, we wanna
become a multiplanetary species,

somebody is gonna be
the person that invents

all the manufacturing technology
we use on another planet.

Either somebody invents it, or
that future does not happen.

♪♪♪

JAMES: I want to make this a piece
where you actually come to view the sky.

You know, art is often
something that wants

to expose you to
something beyond...

beyond how you
think at the moment.

Our involvement with that beyond
what we normally think about

is made very clear.

♪♪♪

The scale of the ambition,

the audacity of the ambition.

- Mm.
- James Turrell, um,

Tim Ellis, OceanX,

Mattie Rodrigue being
maybe prime examples.

Yeah, I mean, I guess if you can change
the world, you're changing the world.

Tim Ellis was, like, on the
planet, leaving the planet.

GARD: James Turrell was on the
planet saying, why leave the planet?

♪♪♪

KEANU: Mattie
Rodrigue, you know,

going into the planet, going
into the seas and oceans.

♪♪♪

So, what do you want to do, Hollinger?
You want to go to the bottom of the ocean?

You want to go into space?

Or do you want to sit in more chairs
to experience the celestial moments?

- Do I have to pick one?
- Yes.

- We can't do them all?
- Well, of course. That's the best.

Oh, okay, well, then
I wanna do them all.

I want to do the
best. [chuckles]

♪♪♪

MATTIE: For me, my style of
creativity is to get out there

and to explore the vastness
of what we don't know.

I have always been really, really curious
about the natural world around me,

so it's this great
mystery to me.

And you never know
what you're gonna see.

♪♪♪

Ocean exploration
and research...

why I think it's so important
that we... we're doing it,

because I know that
human creativity

can be found and inspired by
everything in the natural world.

♪♪♪

There's life everywhere
we're looking. [laughs]

♪♪♪

Every day I see a new species,

new forms of life that I didn't
even know were possible to exist

on this planet right
here in our own ocean.

[sighs]

[chuckles]

It's powerful. It's incredibly,
incredibly powerful.

♪♪♪

The ripple of knowledge,

if you create some kind of discovery
that helps teach or learn...

the ripple of that.

MATTIE: We're sitting in
the Arizona Science Center

in Phoenix, Arizona, a place
that I grew up going to as a kid

that now has an exhibit that's
based on the work that I do now,

that I helped develop,

to teach or influence the next
generation of explorers, um,

to really care and be passionate
advocates for the ocean space.

♪♪♪

You drive all the way around, and
you're looking at the sea floor,

and you're seeing where
the hammerhead lives.

- Whoa.
- Do you want to try to tag a whale?

It's on! There you go. Okay.
It's gonna go collect our data.

I am a public servant at heart.
I love to give to other people.

I think that the only way that we
can really fully understand the ocean

is by maximizing the sets of
eyes and the diverse perspectives

and... and everybody that's
interested to be looking at the ocean.

Whales are so smart that you
can see when they look at you.

So, when they come out of
the water, you see their eye,

and they look at you, and they're
like, okay, not a predator.

- And they're pretty calm about it.
- Oh.

- Yeah.
- Oh, okay.

- Yeah.
- I wanna ride on a whale.

[laughter]

♪♪♪

MATTIE: If this inspires
the next generation,

then we've done our job.
That's really, really amazing.

And also, like, to look around and
to see how excited little kids are,

and then when they see me and they're
like, "You're the girl on the wall!"

I'm so, so lucky
and so grateful,

um, and so inspired
to keep going.

♪♪♪

♪♪♪

KEANU: In some way, each visionary
we met offered a new perspective...

...influencing how we approach design
and where we might look for inspiration.

Perhaps no one altered the way
we perceive the world around us

more than James Turrell.

♪♪♪

JAMES: I want to get you down
on these plinths down in there.

- GARD: You lay on these?
- JAMES: On these, yes.

Let's do it.

- JAMES: Go off road with James Turrell.
- [Gard chuckles]

JAMES: Well, that's why
you buy these things.

Try this one and then go
to that one, that one.

Each one will have a
different shape of sky.

Okay.

JAMES: Our perception
shapes the world we live in,

but we're very unaware of
how we form this perception.

Keanu and Gard are lying down
on these plinths in such a way

that they see the
vaulting of the sky.

This is called the celestial vault
in art, and I've shaped the crater

so each one of these will
yield a different shape of sky

when they lie down
and look at it.

It's like a fish bowl.

Up is down, and down is up.

This is wild.

So, your perspective changes in the bowl
as you move to each of these stations.

James Turrell.

- A bit of a merlin.
- [exhales deeply]

A bit of a... [chuckles]

a Gandalf.

Yeah. Yeah.

- You know, into the ancient energies.
- Yeah.

The ancient ways.

Where does that come from?

You can't... I just... It's
almost like I can't do the math

on how you absorb and retain

that much knowledge
in the amount of time.

So, some of it almost... it's like it's
gotta be beamed into you or something.

- [chuckles]
- Yeah.

What's up? What's down?

Exactly.

Your perception of everything is, it's
like I'm not looking into the sky.

I'm looking into a light
blue bowl full of clouds.

♪♪♪

- Oh, my...
- Look at the moon.

- This is like Escher.
- GARD: Yeah, I'm moving.

If you remember, how does someone
learn to do a backflip in a motorcycle?

Yeah, look.

[wind blowing]

♪♪♪

Well, I mean, I'm... [sighs] I'm
really grateful that these people

are enriching all of us
through their endeavor.

I really appreciate the
kind of open kimono.

Hmm.

So much of modern technology or
contemporary technology is closed,

you know, and it felt
like we were with artists

and people that were
like, "Yeah, come.

Come see what we're exploring.
Come see what we're trying to do.

Come see how we're doing it."

You could easily feel
a little insignificant

when you look at some of these... the
ambition of these pursuits, you know?

Many of these people are doing
things that the ambition is

far beyond human lifespan
capability, let's say.

Well, they also have so much
accomplishment along the way.

You know, it's not like the
accomplishment is this end goal.

- Mm-hmm.
- Like, for Tim Ellis, It's not like,

"I need to get to Mars," right?

- "In my lifetime."
- GARD: Yeah.

♪♪♪

TIM: I don't know if it's a
thousand years or 10,000 years.

Eventually most everybody
will be forgotten.

Um, so it's actually not
even about your own name

and your own legacy, 'cause
eventually that will fade, too.

So, for me, it's about
passing on inspiration.

KJETIL: For us, the body
of work that we're doing

is more important than the
singular aspects of each project.

We're talking about next
generation coming in, taking over,

uh, bringing, uh, the notions of this
collective work and the architectures,

and positively believing in the
future that we can make a difference.

PAIGE: The message
is more important.

When people said, "I
never liked art before,

and then I came in
and I saw your work,"

that's... that's what I'm after.

It's the connection.

That's what I want
my legacy to be.

MATTIE: Wherever we go, we
have to maximize our impact,

and we have to make
sure that we're leaving

a lasting legacy of positive change
and positive action for the ocean,

because otherwise,
what are we doing?

♪♪♪

[motor revving]

JAMES: It's the ride.

It's the voyage on the boat.

It's the flight.

Yes. That's... That's
what we actually live for.

It's all for the ride.

KEANU: Most visionaries
begin with a passion,

and while on their path, consider
what legacy they'll leave behind.

It's a question we've
asked ourselves,

and one that seems central
to the creative journey.

Yeah, I mean, with
legacy and Arch, I mean,

hopefully what we create,

people can take in their
lives and add to...

...the pleasure and to
the experience, um...

of life and riding.

I guess we built kind of like
our own little spaceships

or our horse or our means
of travel, you know?

To see what the company
has accomplished,

how much our product
has advanced...

Mm.

...over that period is...
is also very satisfying.

I feel like through this experience
and... and sharing it with you,

that I can see a little more.

I can appreciate it...

in a... in a deeper way.

And through this kind of back and
forth with... with the artists

that we've... that we were
fortunate to spend time with.

I think it will certainly influence
conversations between you and I...

- GARD: Yeah.
- ...as we move forward

with our own hopes and dreams

and what we are looking to create,
you know, because we can...

we have a shared experience now

that really speaks about what we do
and what we hope to do, you know?

Well, I hope we have some more road
to travel, and along that road...

...we have the chance to...
to meet other artists.

GARD: But the tip of
the iceberg, in a way.

Does the curiosity ever end?

- You gotta keep it crackin'.
- GARD: Yes, I know.

- We gotta keep it going.
- There's so much more.

- Until next time.
- Let's ride.

♪♪♪

[motors revving]

♪♪♪