(instrumental) - [Narrator] Mankind and the elements. For some, it's an uncomfortable bond. - In bad conditions,
it can be a death zone. - [Narrator] For others, when weather strikes, inspiration begins. - [Casey] When you build
an instrument out of it, you're kind of bringing
that tree back to life because it's creating music. - [Narrator] These are the
people who challenge nature, seek out its limits, reveal its secrets, and embrace its awesome power. In this episode, we'll meet a team of imaginative Foley artists
creating sounds of weather for motion pictures. - [Chris] Your ear hears snow, but in actuality, it's sand. - [Narrator] A Hawaiian family who's made world class ukuleles from
rare Koa trees for decades. - Not only a beautiful wood, but kind of symbolizes the family. - [Narrator] And two
brothers who bike in some of the most extreme
environments known to man. - [Joe] It's steep and it's gnarly, and that's just an extra bit of danger, which is always a plus. - [Narrator] These pioneers
of the great outdoors ahead on That's Amazing. In Hollywood, everything
is magic and make believe. - [Alyson] Gloves with
paperclips are dog paws. - [Narrator] Even what you hear. - [Alyson] We are storytellers with sound. Over here we have feather
duster we use for bird wings. We bring sound into the story and we can create any
mood with that sound. - [Narrator] When you watch a film, much of what you're hearing was created, from footsteps on a snowy path, to a vicious thunderstorm. - [Alyson] Weather is a
really interesting thing to recreate. - Make it exciting. - [Alyson] It depends on the
elements that we're using and how it's filmed and
what they wanna hear. - [Narrator] Here at
the Warner Brothers lot, Foley artists practice their craft, and if they do their jobs right, you won't even notice. - [Alyson] People take sound for granted, but you would miss it if it wasn't there. (sand crunching underfoot) - [Alyson] Foley is the art of sound. It's creating sounds in sync
with what's happening onscreen. The art of Foley goes
back to the old radio days where you would see the
sound guys with their, clomping with their coconuts. This is what we use for horse hooves. They're plungers, and we stuff 'em with cloth and a little tape, and here we go. (galloping) Jack Foley came in and he thought, "If I do those sounds in
sync with the picture," "I've just taken a whole step out." - [Narrator] Jack Foley's legacy
in sound began in the 1920s as talkies swept Hollywood. Ever since, the reproduction
of sound effects added to film in post-production
is called the art of Foley. - The Foley stage consists
of different surfaces. - This is walking on
leaves or in a forest. (rain falling, footsteps) For snow, what we normally
use is regular play sand, and then to add to that, sometimes you hear that familiar crunch, which we use cornstarch. (cornstarch crunching underfoot) Your ear hears snow, but
in actuality, it's sand. - [Alyson] It's almost like a prop house. We have collected different things, because everything here
should make a sound. Here's a classic squeaky hinge. Pine cones can be used for cracking ice. - You have the three people
that are on the stage, the mixer and the two Foley artists, which it's important that you
have a team that's cohesive. - You know, something's cracking, popping. I don't know what it is. - Is it this? (leaves rustling) - [Chris] Sometimes it takes
a little trial and error to see what works best. - [Alyson] We have a streamer
that goes across the screen and when the streamer gets to the end, that tells us when that
sound should start. It's an interesting dance. There's really nothing
that we can't do here imagination-wise. - [Mary Jo] Right now
we're in the control room, and it's where I mix, and I listen to them
performing to the picture. I try not to look at them, because I really don't wanna
see what they're using. I want to see how it sounds. (thunder crashing) - All sound is two elements
hitting one another. - [Alyson] With rain,
if it's hitting a puddle or if it's hitting someone's face, that's all gonna sound different. So those are very specific little things that we have to watch and look at. Okay, Mary Jo, here we go. (water hitting boot) Wind is interesting because it's usually what the wind is blowing through. - Alyson's gonna use the
Batman cape to create the sails and I'm going to create the boat actually going through the water. Okay, let's go. (water splashing, fabric rustling) - [Alyson] If we're doing
a boat going through waves, we would use the big tub that we have to get that slapping sound, or churning up the water a
lot in the tub with our hands. - [Mary Jo] A lot of sound, like a lot of things
artistic, it’s very subjective. So, I have to make the judgment call. There's a great moment when
you get the perfect sound, and they don't always know it, but I do. How was that, Mary Jo? - [Mary Jo] Sounded great. - When there are multiple
weather elements involved, we might do all the specific things first and then go back and do
maybe a general sound. We have a shot here of a hiker
coming down the waterfall, so I'm doing the sound of the carabiner and his rope and his equipment. (metal clanking) How was that? - [Mary Jo] That was cool. - Nice. (water hitting concrete) - So, I'm gonna play it back all together and see what we've got. (waterfall rushing) - [Alyson] We really layer everything so the mixers can mix how they wanna hear it, and we do things also that
are a little over the top because we have to fight
with music, sometimes dialog, but hopefully when you hear it at home, it'll sound just like
it should be natural. (waterfall rushing) - [Narrator] On Eil Malk Island in Palau, there is a lake like no other. (soft electronic music) It's called Jellyfish Lake. This stunning saltwater lake
is roughly 12,000 years old and was once connected to the ocean. But as the island changed,
it was closed off. Now, in isolation, it is filled with a jellyfish
species found nowhere else, the golden jellyfish. These cryptic creatures spend their days migrating across the lake,
following the path of the sun, and with no predators
to keep them in check, the jellyfish swarm and fill
the lake like a cloudy dream. It's safe for humans to swim here because though the
jellyfish do have stingers, they are too small to be felt by humans. Gliding through this
place feels otherworldly. (instrumental) Grass is something we take for granted. We walk all over it, lay on it, and sometimes mow it down. Most of us don't give it much thought. Few of us appreciate it the way that Dan Harvey and Heather Ackroyd do. - I think we create these pieces partly because we just love actually the magic of seeing them in print and
come to life and grow. - [Narrator] The British
artists blur the lines between science, nature, and art by manipulating the nature processes that fuel life itself to
create their canvases. - [Dan] You're actually imbuing it with this energy and creating with life. They're almost DayGlo images
when you first see them. They're very, very beautiful. (instrumental) - [Heather] So, we're
standing on Leaf Hill, which is near our hometown of Dorking, which is about a mile down the road. It's an area of
outstanding natural beauty. Geologically, the area is green sand. Dan as a child used to come
up here with his father. - [Dan] Yeah, I was born and bred here and spent a lot of time up in these woods. - [Narrator] In the forest, Dan and Heather come
across a group of activists protesting plans for oil drilling nearby, and decide to document their cause. - You're just looking
straight into the lens. - [Narrator] They take a
series of photographs with the hopes that one can be
used for a grass portrait. (ethereal music) - [Heather] If you actually look at what's happened in the last 25 years, if you look at what's happened
in the last five years, mega flooding scenarios. - [Dan] Severe weather events
are happening time and time and time again and
increasingly more frequently. - And the science is very, very clear and unambiguous about this. Our work is very much embraced around processes of change, around nature, around biodiversity loss,
around climate change. From the very first time that Dan and I started to work together, it was, you know, it was within our sight. It's not necessarily a
direct action or activism. Sometimes pieces are very, very poetic. (uptempo music) - [Heather] It's a bit
dark around the eyes. That's good, do that one. I actually think that's really nice. We, God, you know, we spend
so much time together. You know, it's like 24/7 really, isn't it? We work together, live together,
we have a child together. We challenge each other's
ideas and thinking, but that's really good
because it kind of makes, I think it makes our ideas more robust. - So I printed these ones off. I really like that one. - [Heather] I think that's the one. - We've been together 26 years. - Yeah. - And we still, yeah, when you're a couple who
live and work together, the thing is that you actually
really don't switch off. - There's just like this kind of charge. There's always a charge to what we do. (soft music) We maybe only do one, one or two photosynthesis works a year. I think what's interesting is that we're, we're not working with lawn
or with sod or with turf. We work with the seed. - [Narrator] Dan and Heather germinate their seeds for about two weeks. When ready, they're
rubbed onto the canvas, held in place by water paste. - [Heather] We're not
carving or sculpting in that more traditional sense. You know, we're growing. - [Dan] The image sort of
develops over the period of weeks. To grow one of our pieces,
we grow the grass vertically, then we turn the whole of the
studio space into a dark room and so the only light
that the grass receives as it's growing is from the
projected negative image, so where the strongest
light hits the grass, it produced more of the chlorophyll, more of the green pigment. Where there's less light, it's less green. Where there's no light, it grows, but it's attenuated in yellow, so you get the equivalent to
a black and white photograph, but in terms of green to yellow. - [Heather] Portraits we tend to do around six foot by four foot, or maybe seven foot by
five foot, in this case. We can work really, really large scale, and what's great about
that is that it's not, it's not sized a gratuitous way. Actually, the resolution we get is really, really extraordinary. It's phenomenal. If you equate a chlorophyll
molecule with a pixel, then we're getting kind of
like many more pixels for kind of like, you know,
kind of like square foot. - The detail you can
get on the large ones is absolutely fantastic. - [Heather] It's part of a
process of discovery, you know. As artists, you're looking
to make discoveries within the materials and mediums
that you work with, and you know, light and
seeds, water, crystals, all of those are kind of
part of our palette of materials that we play with. - [Narrator] If watered regularly and kept at low light levels, these grass portraits
can last indefinitely. - [Dan] There's something
about seeing the way that they grow and they sort
of materialize in front of you, really, and you don't
really get to see them until the last moment really when
you can put the lights out. (soft music) - Oh wow. You grassed me up. - [Heather] I feel that this piece has got a real strength about it, you know. I think the person we
photographed in their youth just has this real kind of
connection with the camera and he's somebody who
cares passionately about what he's doing. It's like a watercolor. The color grazes through it, you know. It's very, very beautiful. - I'm still a bit taken
aback by how it's grass. - [Heather] I know, I know. We're really, really pleased with it. We're really pleased with
the way that it's grown. (instrumental) - [Narrator] Sam and Joe
Flanagan are brothers who take mountain biking way past extreme. - We love doing anything we
can possibly do on our bikes. The extremer the better,
the gnarlier the better. - [Narrator] They're not too interested in well worn paths or typical trails. - [Flanagan] If it involves
climbing up a snowy hill, then so be it. That's a good afternoon spent. - [Narrator] Instead, they hike and bike down some of the highest, snowiest, and coldest mountains in Scotland. (instrumental) - Our childhood was always
really, really active, so we'd always be out climbing. There's a lot of cavern
around here in Yorkshire. - [Sam] Both my parents
were into the outdoors, so they got us into sort of
stuff like mountain biking, climbing cavern from an early age, and we just sort of fell in love with it because we lived in a rural area. - [Joe] Mountain biking was
just the natural progression. - [Sam] The mountain biking we do would be classed as extreme because of the elements that we do it
in, the places we do it in, the kind of stuff we're riding down, it's not your average trail center. It's steep and it's gnarly and, it's just an extra bit of danger, which is always a plus. - [Narrator] Formed 40 million years ago, the Cairngorms is a mountain range in the eastern islands of Scotland. It is home to five of the six highest mountains in the country. To say the weather is extreme here would be an understatement. It's prone to wind speeds
of over 100 miles per hour, temperatures well below zero, and of course, the occasional avalanche. Not exactly the typical
choice for mountain biking. - It's impossible to
remove the danger from mountain biking completely 'cause you're still out in the elements. There's rocks, there's slippy surfaces. You're always gonna
have your little crashes and your tumbles. - The Cairngorms can
be, on a beautiful day, can be an extremely rewarding environment and really beautiful to behold, but in bad conditions
it can be a death zone, and many people have died
up in the Cairngorm plateau, either being caught out by bad weather or falling off a cliff. It can be completely, like, another world of cold and
extreme weather up there. - [Joe] Definitely when it's snowing, you need to 100% check the weather. You need to make sure that
everyone's gonna be safe, detailed information on what the weather's gonna be like up high, what the wind speeds are gonna be like, and it's dangerous. There's a lot of people
have to get rescued. There's a lot of people, unfortunately, are killed in the hills
around the Cairngorms 'cause they misjudged the weather. (electronic music) One of the main reasons of riding down a snowy, icy mountain is
everything's just heightened, everything's more slippy, everything's that little bit more scary. Coming down is the best feeling. That's where you feel really free, just wind blowing through your face and carving turns in the snow. It's just unmatched. Speed-wise, on the snow,
you can pick up, kind of, 30, 40 miles an hour
without even thinking. Stuff just starts blurring past, but that's the best part. A load of adrenaline. - [Joe] As my good friend,
Craig Evans always says, death before download. If you're gonna have to carry down it, you're just gonna try it anyway. Just get it done, see it through. (instrumental) - [Narrator] Scattered
across the New Mexico desert are buildings that look like
something from another world. They're homes designed to be
completely self-sustained, generating their own electricity,
water, gas, and food. They are the life's work of an unconventional
architect, Mike Reynolds, who believes homes are the
key to a better future. - [Mike] We came up
with the name earthship because houses have to
have gas lines coming in, sewage lines going out,
electric lines coming in, and so these buildings provide
all of that themselves. These buildings address
comfortable shelter, electricity, water, sewage
treatment, garbage, and food. - [Rowan] Mike Reynolds
started all this after the oil crisis in the seventies. Once the prices went up, that meant everything we
had to buy just went up, so this house is basically trying to make us less dependent
on all these things. - [Mike] I came to Taos right after architectural school in 1969. This climate is super severe. It's real hot in the summer and
it's real cold in the winter, so it's a perfect place to
test pilot these buildings so that you see if they can
stay warm in severe conditions and cool in severe conditions. - [Narrator] Reynolds’ vision has grown. There are now 7,500 people
living in earthships worldwide, but constructing the
self-contained buildings isn't what you'd call easy. It comes down to a complex system of sustainable materials in construction. - [Mike] There are mountains
of automobile tires everywhere all over the world. Well, why don't we make a use for tires? - [Rowan] The tires give out
the foundation of the house and also the structural walls. - [Mike] The tire will not rot. Termites don't eat them. They are resilient for earthquakes. - [Rowan] And at the same time, because they're packed with earth inside, it's going to accumulate the heat. It's like a heat factory. - It sucks up heat and then
it gives it back to you when the temperature of the room drops. - [Rowan] You do feel really nurtured inside some of these houses
because inside the living space, the temperature's the same all year round. And we have plastic and glass bottles. We cut them in half and we put
the two bottom ends together. It means that we'll be
using much less cement because we're using this other
material which compensates. At the same time, it's gonna
let light come into the house. You can do a combination of
colors, so you can do mosaics. - [Narrator] Living off
the grid in the desert creates challenges for basic water needs, but the answer to this problem is one of earthship's most elegant solutions. - For the rainfall, we've only got about eight inches of rain a year, so all the roof is dedicated to recuperate this water and harvest it. This rainwater, after we've used it once, let's say through the shower, will go into the botanical cell, then it's basically irrigating plants and then only after that
does it go into the toilets, so we never use the water in the toilets directly from the rain. We've already used it twice. - [Man] We retired in September of last year. We've been here full-time since. (soft acoustic music) - [Woman] It gives us freedom from bills. It gives us the ability to
go back to our natural roots, live and love the seasons here. We actually got a newsletter
sent to us from Michael, and then we decided to
come out here and stay in one of the earthships. Lo and behold, I saw this
little mud house here for sale, so that's how we came to this point. This community, itself,
this earthship community, is full of eclectic people. There's people here from everywhere. - [Rowan] I think that with time, we're seeing more and more
people who are interested in it, but also who see the
advantage in the long run, especially, you know, to
take care of our planet, so we want try and have these
bases all around the world and be able to continue
training people there directly. - [Narrator] Reynolds and his team have been sharing their
designs around the world, developing earthships in places of need. - [Mike] I can't possibly build all the buildings that need
to be built on this planet. No, I want it to be a virus. People get infected, and
they infect more people and they infect more people. That's the way this can grow. - [Narrator] A standard
earthship costs roughly $235 per square foot and
comes in a range of sizes. - [Mike] I lay in bed
sometimes awake at night, can't wait to get up the next
morning and keep doing this. We're building, we're drawing, we're traveling, doing education. - [Narrator] Michael Reynolds and his team have helped many individuals
and charities build these off the grid homes around the world. - I plan to keep going until I drop, but I'm already seeing that
it doesn't matter when I drop, there's people that are
just gonna keep doing this. - [Narrator] There are roughly
3,000 earthships globally, which house around 7,500 people. - [Aharon] A free diver
to me is a pioneer. We're all experimenting in
something that has not been the main thrust of humanity until now. My name is Aharon Solomons. I'm a free-diving instructor trainer. I specialize in coaching
athletes who want to do national records or world records. You've got to kick in your dive reflexes, breathe up a little bit, breathing, about as you do just
before you went to sleep. Then, one big breath, turn over and go. The moment that you leave the surface, the blood is beginning
to leave the peripheries and migrate towards the
so-called noble organs. Then, you start to sink faster and faster. Once you're free-falling,
it's pure pleasure. It's an incredible sensation. You’re going down, and the colors change. You go down through the clear blue here, to a darker blue, and to a purple twilight, and then finally into total blackness. Then, we have a rude
awakening, hit the plate, and then we turn around, and we have to work a
bit harder coming up. As you come up, you're working less hard because buoyancy is returning, and then it's like a rebirth. You're coming back into the light. The whole process is one of pleasure and a terrific sense of
adventure and achievement. Usually changes and switches. All the things that I
thought were impossible, all the things that I thought
were not achievable by me are. If that's achievable, what
else isn't achievable? And that opens a whole Pandora's box, so it's quite an experience, free-diving. (instrumental) - [Narrator] In the shadow of Mauna Loa on the island of Hawaii, the native Koa tree roots
in shallow volcanic soil. - [Male] Acacia Koas are found throughout the Hawaiian islands, but nowhere else. Today, it is probably the most valuable hardwood found anywhere in the world. - [Narrator] Acacia Koa
is native to Hawaii. Named Koa, meaning brave and bold, it is prized for its incredible
beauty, color, and curl. It enjoys the humidity of the tropics, requiring nearly 200 inches
of rain per year to thrive. - We like to leave
these big grandpa trees, let them throw seed for the forest, and hopefully pass on more
trees for future generations. - [Narrator] To honor the
iconic symbol of the islands, those who harvest Koa
almost never cut it down, allowing mother nature to decide when and which to harvest
as the wind blows. - It doesn't take much. An above average wind will knock some pretty large Koa trees down. The higher quality instrument grade Koa is used for making ukulele and guitar. - [Narrator] For 100 years,
the Kamaka family has made world-class ukuleles
from these native trees. - [Chris] Working with
nature to try and create a certain voice is truly
something special to me. - [Narrator] Inspiring music and musicians recognized far and wide
as distinctly Hawaiian. - The modern ukulele was truly invented by the Kamaka family. - [Narrator] Using
techniques passed down for four generations, the
Kamakas hope the Koa tree will provide another
hundred years of song. - [Fred] My father never claimed to be an ukulele player. He made instruments
because his friends did, and he took what he learned and opened his ukulele guitar shop. My father was, he was a perfectionist. I remember him saying, "Don't make junk." The ukulele became the most
prominent instrument in Hawaii. Most businesses don't last beyond maybe the first two generations, but we've entered the fourth generation. We've managed to keep it together. - [Casey] The factory has
been a home away from home. Everyone here pretty much raised us because we were running around the shop from when we were young kids. You know, in Hawaii,
family's such a big thing, and they're part of our family. Same like with our musicians. Without them, we wouldn't be here, and that's how we hope
that they would feel. - [Keith] A Koa tree is in the pea family. It's a legume, and it's
a pretty hardy tree. On our ranch in the Koa zone, it starts at 4,000 foot elevation and goes up to about 6,500 foot elevation. The Koa that we have milled here, probably some of the most
beautiful Koa I've ever seen. Our growing conditions are pretty optimum. Kona has a really unique weather pattern. Mauna Loa dominates our climate. When this huge land mass heats up, it draws those ocean currents mauka, and as the mountain cools
and nightfall comes, the dynamic shifts, and
now this wind blows makai. The root system for the Koa is shallow-rooted in this volcanic soil. Not only is that susceptible to wind, but if there's a herd of
cattle that came through here, they'd be trampling the
roots and kill the tree. Our logging operation is
centered around harvesting windfall trees, trees that have fallen, and so for the most part, we get pretty good business
just with windfall trees. (upbeat music) - [Casey] I used to bug him all the time, "Dad, take me to go look at the wood." All I'm doing is envisioning this instrument coming out of that log. This stack, it's about a
board foot per instrument, so that's about 400 ukuleles right here. I guess you could say
I'm cheating a little bit because I'm using what
mother nature has given us. When you build an instrument out of it, you're kind of bringing that
tree that you saw up there back to life because it's creating music. So when the wood finally gets here after we've picked it from the big island, we dry it out in back. It takes at least two years for the water naturally to come out. From that point, the wood is picked, cut, sanded to thickness, put into production, it's bent. You know, the interior's all braced. It's glued together,
where you have the body. The neck is built. Once that's built, it's glued on. We front the instrument,
and then it goes into finish process of filling
and spraying lacquer on it. Once it's dried, we glue the bridge on, tuners, set up, get the action correct, and then it's ready to be played. - My dad started his
ukulele shop as a hobby, and it's been going for 100 years. - Hey, what's up? - We love to hear the good
sound of the ukuleles. Creating that has been
a lifetime of service to the people of the islands. 100 years is a long time
keeping people singing. - [Jake] The ukulele is a
symbol of aloha, you know. It represents Hawaii; it
represents the culture here. I get to take the ukulele
all around the world to share a little bit of Hawaii
with the rest of the world, and it's such a beautiful thing. For me, there's a very
unique sound about it, and when you hear it, you
know, it just makes you smile. I wouldn't be the player I am today if it weren't for their instruments. - [Narrator] Iceland is home to the largest glacier in Europe, and an abundance of wild
freezing cold water, which makes for a unique
fishing experience for those willing to try it. Stjani Ben is a fly-fishing guide who doesn't hesitate to wade
into waist deep glacial waters all for the thrill of the catch. - [Stjani] Favorite
part is always the take, you know, when the fish takes the fly. Adrenaline just goes off. Just casting, minding your own business, and all of a sudden, boom! That's a lot of fun. We're at Tungufljót, which is a sea trout river on
the south coast of Iceland. This river is known for very big fish. I think it's because of all the glaciers, and this is fairly new geologically
of this part of the country. The river's not very fertile, and that's why we have sea trout in there. They have to go to sea
to get something to eat, and there's not a lot of
people who enjoy this. It's fun being fishing
in this kind of weather. We're breaking ice off
the rock all the time, you know, because wind
chill, and the rock gets wet. Once you have your first fish, it, it starts to be a lot more
about nature, the river, getting away from your normal life. I don't know, just being
outside is what it's all about. Fly-fishing offers a never
ending journey, so to speak, although it sounds cliché. You're never gonna master it,
no matter how hard you try, no matter how much time
you spend doing it. You're never, ever gonna master it. It offers nonstop
challenges, new challenges. (bird calls) - [Wolfgang] When I was younger, I used to think that
architecture and art and science were all completely different disciplines, and the older I've got, I've come to realize there's
a lot of similarities. There's some gray areas I think between kind of art and architecture. - [Narrator] The Hive is an installation created by artist Wolfgang Buttress. It's been built in the Royal
Botanical Gardens in London. - [Wolfgang] I wanted it to
fit really comfortably in its landscape, so it
almost looks like a swarm, a swarm of bees, and then
the closer you get to it, it reveals its sort of structure. The sense of kind of moving from chaos to the kind of, the order and the beauty and the harmony of a honey comb. - [Narrator] The lights
and sounds inside The Hive are triggered by the
activity of a real bee hive. The busier the bee hive, the more intense the light and sounds. - [Richard] So I first
heard about The Hive, I read about it actually in the newspaper, and the purpose of The Hive
is to tell the story of the role of bees in pollinating crop lots and therefore feeding the planet, and I thought that was perfect for Kew, because we want to bring
alive why plants matter, and clearly one of the
most important things that plants do is they feed humanity. - [Narrator] Dr. Bencsik
placed an accelerometer inside a real bee hive. These accelerometers
measure the vibrations and energy of the bee hive. The hive is connected to the sculpture, and its activity is expressed
through light and sound. - The Hive itself is
really telling a message about why bees are important. They're important to society because they help pollinate food or provide the food that we eat, but they also are a very important part of our ecology, our ecosystems. - [Wolfgang] The honey
bee's responsible for 30% of all the food that we
eat, but the bee is in crisis. It's dying in unprecedented numbers because of climate change,
pesticides, lack of biodiversity. I really hope the visitor will
have an emotional experience, you know, something which kind of
connects them to nature. I think sometimes you can
say a lot more by being quiet and sometimes we forget how
powerful important sounds and touch and smell are, so to me, that was really important
that these elements were at the heart of the installation. - [Narrator] Thousands of
people continue to flock to Kew Gardens to view and
experience this 40 ton steel honeycomb, an ode to
the plight of honey bees.
