An App for Hacking Fertility Now Also Works for Men

In our culture, reproduction is often seen as women’s work. From pregnancy to childbirth through nursing a newborn child, women are often expected to take the central role in creating new life by default. Similarly, when problems of infertility arise, the focus is often slanted toward females.

But getting pregnant takes two, as Mike Huang is acutely aware. Huang is the CEO of Glow, a company which nearly two years ago launched an eponymous reproductive health app with help from big-name backer Max Levchin, a PayPal co-founder. Until today, Glow was designed exclusively to help women either avoid a pregnancy or get pregnant. The app offers women insight on good habits to practice while they’re expecting and provides support during difficult times, such as miscarriage and the postpartum period. Now, after addressing a mother’s journey to parenthood, Huang and his team are rounding out Glow with an essential new component: support for male fertility.

“Men’s reproductive health plays an equal role when a couple is trying to conceive,” Huang tells WIRED. “We believe men, just like women, can benefit from a deeper understanding.”

There’s plenty of data to suggest that the app is addressing an unmet need. According to the National Infertility Association, one in eight couples in the US struggle with infertility. And among those couples, the male partner is either the sole cause or a contributing factor to infertility in 40 percent of cases, the American Society for Reproductive Medicine says. Yet statistics show that men are less likely to seek medical help than women.

Making Data A Habit

Glow’s new features for men work much the same way they do for women. Male users can keep a daily log that tracks key aspects of their health. That data triggers insights related to their reproductive health. If a user confirmed that he smoked a couple of cigarettes, for instance, he might be served a message noting that fertility rate among smokers is up to 40 percent lower than among non-smokers. Nutrition is also a key component (more fish, less bacon). Each of the insights comes with a clear citation of the scientifically backed source, the company claims. Glow says its information comes from peer-reviewed journals, research organizations, and reputable science blogs.
daily_log_sample Glow
Men will have access to forums where they can ask questions confidentially. They can also link their apps to their partners’ accounts app to view such useful information as where their partners are in their menstrual cycles. The data that partners can view about each other is clearly labeled.

After 20 months in the wild, Glow can tout some pretty impressive numbers. As of today, the company says, it has aided more than 50,000 pregnancies. If adding male users can increase that number, Glow can collect even more reproductive health data—which is Huang’s ultimate goal.

Huang thinks of Glow as a data science company, one that’s conducting the largest-ever study on reproductive health—an area the company says is in dire need of updated, quality information. A company representative pointed out that even Masters and Kinsey’s famed mid-century studies of human sexuality did not home in on fertility issues. Studies have come and gone since then, but Huang believes Glow can gather data from a much greater sample size than ever before possible via its free app. The hope is that ultimately medical researchers can use that data to gain a more comprehensive picture of human reproductive health.

Huang also hopes Glow can serve as another useful tool for encouraging people to practice healthy habits. After all, fertility and overall health tend to go hand-in-hand. “It’s harder to take action when you’re just being told, ‘Eat healthy,’ without any context,” he says. “But if the context is personalized information and an engaging experience through an app and a community, then that could have a huge impact.”

Amazing Photos Reveal How the Natural World Copies Itself

Even the hard categorizations and taxonomies of a natural history museum don’t hide the beauty of the world. There are the vast troves of minerals, shiny and colorful. The weirdly attractive corkboards full of geometrically-pinned beetles and dragonflies. The pickled remains of snakes, coiled and squished into glass jars for your perusal. But rarely do you get to see those specimens side by side: Each animal, vegetable, and mineral has its own place (sometimes even a whole wing!).

In the beautiful images collected in the new book Biophilia (which means “love of life”), photographer and naturalist Christopher Marley carefully presents those specimens in environments they’d never see in the real world, or even a museum. In a section called Unity, he pairs each image of a snake, or bird, or spider with its perfect visual counterpoint—regardless of its species or its point of origin.

Marley chooses his juxtapositions carefully to emphasize the full spectrum of color displayed—and replicated—in the natural world. His chosen flora and fauna bring out each others’ best hues: A collection of butterflies in gold amplifies a textural close-up of a veiled chameleon from Madagascar. The vivid green and purple wings of an Ecuadorian grasshopper mimic a trio of Gouldian finches, each in different vibrant colors. A mosaic of tropical fish from around the world collectively displays the same spectrum as a single pied red-rumped parrot.

Biophilia, Harry N. Abrams, 2015.Biophilia, Harry N. Abrams, 2015. Josh Valcarcel/WIRED

But most of Marley’s comparisons are subtler than color-changing chameleons and neon plumage. You’d probably never think to call a horseshoe crab beautiful, but positioned next to the warm tans and browns of the Egyptian cape dove, a carefully-placed configuration of four (deceased) arthropods comes to life. The symmetry of the horseshoe crabs’ spiky, elongated tails look all the more remarkable next to the dove’s tiny, pointed beak. And the feather-like spines that protrude from their underbellies—what are those things for, anyway?—look more delicate than menacing next to the bird’s plumage.

Flipping through these images, you begin to get the feeling that nature is drawing inspiration from itself, even copying itself outright. And in a sense, it is. The gently curving tendrils that extend from the whip scorpion’s long, frontal legs—used not to walk, but purely to feel their way around—look like the aquatic serpent star’s curling arms for a reason. They’re responding to the same evolutionary pressures, the same millennia of environmental nudging.

In the world humans share with these urchins, aviators, deep-sea divers and slow parambulators, recurring geometries and colors are a sign of our essential oneness. What’s not to love?

Three Wild Sensations From the Frontier of Storytelling

In the future, you won’t just consume stories by watching a movie or tuning into a podcast via earbuds. You’ll be standing in the middle of them—maybe you’ll even be able to see the blurry tip of your nose in front of you—with panoramic vision, perhaps a sense of smell, and maybe even the slight feeling of vertigo. “Originally stories were living things,” says Charlie Melcher. “It was a dialogue, something you could interrupt, or physically respond to.” Melcher thinks that sort of interactivity is exactly what the future holds.

Some of these new physical effects—surround vision, a sense of depth perception, vertigo—are vividly felt in virtual reality films. In particular, this year’s Sundance Film Festival, filmmakers showed off a range of VR experiences that left viewers with everything from unsettling emotions to a sense of awe. Yet for all the hype around virtual reality, relatively few people have experienced it. So if you’re in New York, you should go visit Sensory Stories, at the Museum of the Moving Image. (If you’re not, don’t stress: the exhibit will travel after it wraps up July 26.)

VR is only part of the Sensory Stories exhibit, which was curated with Melcher’s Future of Storytelling, an annual summit of tech people and creators showing off the latest in storytelling and communications. The other micro-exhibits include tablet games, like a scent-emitting Goldilocks game by oPhone, and physically interactive displays, like Google Creative Lab’s Cube, an oversized, remote control block with a phone hidden inside. The phone’s sensors talk to a laptop hidden in the room that’s playing six different weird, grainy films simultaneously. Each side of the cube correlates to one plotline, so by turning the cube over in your hands, you choose which narrative you watch.

Collectively, these stories signal a shift from passive viewing to something more active. “It’s a relatively recent thing in history that stories became objects,” Melcher says. “These new types of stories are moving us into something more physically interactive, more multisensory, that reawaken our bodies and senses.” Here’s what to expect.

4b768a2a6bdc19df6268ced9fd615380Birdly Thanassi Karageorgiou / Museum of the Moving Image

You’ll Levitate.

Birdly is probably the most sensational of all the projects at Sensory Stories. It’s a full-body VR experience that lets you fly over—and in between—Manhattan’s buildings. You saddle up, face down, on a seat that’s like an inverted dentist’s chair, and slip your arms over plastic wings. A fan blows wind against your face as you flap your arms and nudge your hands left or right to navigate, soaring in and around the monolithic New York skyline.

To say Birdly is convincing is to shortchange its effect. I’ve never been afraid of heights or of flying, and people who are have always confused me. That didn’t matter: my kneejerk reaction to Birdly was put me down, put me down now. Your awareness of the museum and people nearby vanishes and the wind almost gets knocked out of you. It takes a second, but once you’ve settled into your flight, assured you won’t plummet to the concrete earth below, the trip becomes poetic. “Many of us have at some point in our lives dreamt of flying. That exhibit is the closest I’ve ever come to feeling that way,” Melcher says.

Evolution of Verse, the first VR film from Chris Milk’s VRSE production project, conjures up a similar sense of flight. There’s no narrative, just miles of lake and mountainscapes on all sides. Towards the tail end of the short film, you realize the lake is falling away below you, while you float up in the air. It’s much gentler than the all-encompassing feeling of Birdly. With Evolution of Verse, taking the VR goggles off is like waking up from an exceptionally good dream.

2177c7dc76ac230f42cd14246cf5a3ccIs this the movie theater of the future? Thanassi Karageorgiou / Museum of the Moving Image

You’ll Feel Profound Empathy.

One of the most oft-discussed qualities of VR is its ability to implicate you in what you’re watching. It’s an odd (or maybe titillating) side effect of watching VR porn, that suddenly the people in the film seem like actual people, not just performers.

Likewise, in the quiet and scenic Herders, by FĂ©lix and Paul Studios, you might catch yourself trying to stay quiet to avoid disturbing a Mongolian family silently eating their dinner. And in Clouds over Sidra, it’s all too easy to catch yourself smiling at the kids walking by you. The short documentary, created by Chris Milk and Gabo Arora, and commissioned by the United Nations, follows Syrian refugees, mostly children, in the Za’atari camp in Jordan. Sidra is the name of the 12-year-old girl who narrates. The film takes you from Sidra’s family’s tented home, where her mother cooks for her and her siblings, to her school, to the school gym, and to rocky, muddy outdoor environment where she and other kids play. Sidra’s narration is brave but wistful, as she describes things she misses about Syria, and the accommodations they make while they live in the camp. Melcher describes the opportunity for all storytelling as “having one person try and express something about the human condition to someone else.” In Clouds over Sidra, the feeling of homesickness is palpable.

6cf289d41d82fea6f35f702be02cb977“Hidden Stories.” Thanassi Karageorgiou / Museum of the Moving Image

You’ll Be Part of the Improv.

Melcher’s convinced social changes will also affect the types of stories we tell. “I’m a big believer that we are leaving this age defined by the alphabet,” he says. “We all learned to read and write, and that creates a certain kind of order, a linear hierarchical order. We are in a process literally of transforming from an alphabet mind into one that is networked, that is more based on connections between things rather than hierarchies.” Our stories could very possibly change as well.

In this instance, “networked” stories could mean something more game-like. Indeed, Birdly already approaches game status, given that the viewer controls the direction of flight and has to dodge buildings. And, like a game, danger is built in: in Birdly, it’s totally possible to crash into one of the skyscrapers.

Even at Hidden Stories, which is less stunning than something like Birdly, the story gets experienced exponentially rather than linearly. It’s a spin on radio storytelling, where dozens of objects are drawn on one of the walls at the museum. Behind each image—like an ice cream cone, or a Band-Aid—are sensors. Put another sensor-filled cone up to the object, and it unlocks a cache of audio tidbits on that object’s. Listeners can record their own snippets that then get woven into the narrative web. It’s a tidy metaphor for how stories might develop in the future more broadly. The subject is still a single, concrete thing. But the experience is something totally new—interactive and multisensorial.

Assassin’s Creed Goes 2-D With Sneaky Platformer Chronicles

Assassin’s Creed Chronicles: China takes Ubisoft’s mammoth historical-action series, and flattens it out. Literally.

Nearly a decade on, the Assassin’s Creed franchise is freighted with expectations: Sleek parkour. Cat-and-mouse slinking. Crypto-silly storytelling. Sandbox exploration. Lots and lots of climbing.

But 2-D, side-scrolling gameplay? That’s a new twist, and by “new” we mean “not new.” Ubisoft already did it with Assassin’s Creed II: Discovery on Nintendo DS in 2009. So China, the first in a planned trilogy of downloadable episodes for PlayStation 4, Xbox One and Windows, isn’t the first side-scroller in the series. There are big differences, though.

Discovery on DS was an arcade platform action game, whereas China wants to be a bona fide Assassin’s Creed, replete with impossible gymnastics, Bat-belt gadgets, camouflaging crowds, and hay carts to hide in.

You’re pitched along a 2-D plane towards battalions of hyper-vigilant enemies and meticulously choreographed detection scrums that require balletic finger-work.

ACC_CHINA_Kill Ubisoft

For the most part, the metamorphosis from open-world to platforming sneaker works.

Imagine a Metroidvania skinned like an ink wash painting, where ambient effects like clouds and light beams become gunmetal smears or white slashes on cloth canvas.

Insert a female Chinese assassin in the early 16th century, plucked from prior series lore, bent on revenge and restoration of her order. Add swords and throwing knives and grappling hooks, distraction gimmicks, leaps of faith, extrasensory abilities and other riffs on familiar Assassin’s Creed concepts.

Then, tuck dozens of collectible anomalies—the series’ hallmark “simulation glitches,” because of course every Assassin’s Creed historical scenario is a VR sim of history being played by the protagonist’s ancestors being played by you—away in off-road cubbies.

Staff up the levels with opponents, whom you can either battle Prince of Persia style or tiptoe past, if you can avoid their ever-swiveling car dealership spotlights of detection.

It all makes for an effective, if eventually rote, experience: You creep through levels, usually toward some endpoint assassination, getting sidetracked if you like by secondary objectives like rescuing hostages or dispatching informants.

Game concepts iterate from level to level, sometimes as new abilities, but mostly just plus-this-or-that bonuses to existing ones. My favorite is probably Eagle Vision, which highlights A.I. vectors, which manifest like the probability lines extending from the doomed occupants of Donnie Darko‘s tangent universe.

Combat tends to be costly (you’ll croak after just a few blows), and avoiding battles produces the best level scores anyway. You’re thus incentivized to find nonviolent solutions, sussing enemy patterns and trying out different action sequences until you find the one that’ll get you through whatever perception net unnoticed. But it’s a formula that changes very little between the first and final of the 12 levels; thus, you’ve seen all the game has to offer by the midway point.

ACC_CHINA_Rope Ubisoft

Some of the design choices feel off-key, too. Maybe I’m hearing things or missing the historical point, but half the Chinese nationals in the game speak English with a British accent. You can hide bodies in chests or background spaces, but can’t lob them off the edges of things—if you try, they’ll levitate! Certain collectibles don’t reset when you manually restart a checkpoint, meaning you can be sloppy while getting them.

And while the levels are technically open-ended, stealthy backtracking is generally impossible because the enemies are staged to allow passage (by stealth) one-way only. Thus, if you miss a secondary objective and trigger a checkpoint save, there’s no way to go back, short of butchering everyone or replaying the level entirely.

If you don’t care about maxing your level score, China does support alternative play styles. As you pass checkpoints—and the levels are big enough that each sports upwards of a dozen—you’ll get a little progress report on your Style Grade. Avoid detection and kill no one and you’ll earn a coveted “Shadow Gold” rating. But go the assassination route, or out-and-out brawler one, and you’ll earn alternative appellations.

My only quarrel here is that the studio ranks play styles from best (stealth) to worst (brawler) instead of making each a viable path toward perfect play. I get that assassins are supposed to be sneaky, but when the sneak-play changes so little, it’s a shame the Style Grades all slot on a single barometer instead of viable competing ones.

My only other bone to pick with the game, as someone who’s half-seriously followed the byzantine Assassin’s Creed lore, is that it’s hard to empathize with the game’s heroine. Newcomer developer Climax Studios gives the backstory a buzzcut, putting too much distance between you and what should have been a fascinating protagonist, her goals, the setting, and pretty much everything else.

I never connected the way I did, for instance, with previous protagonists AltaĂŻr Ibn-La’Ahad or Ezio Auditore (who makes a few tutelary appearances here). It’s a shame, because of all the historical scenarios I’ve been wanting for an Assassin’s Creed game, China was tops.

If you’re looking for a competent vamp on the Assassin’s Creed games inflected by Metroidvania concepts, then here you go. It may play like an aperitif between entrees, but it’s also just $10—or totally free (and definitely worth a look) if you’ve already purchased the Assassin’s Creed Unity season pass.

Inside the Hellscape Where Our Computers Go to Die

People love gadgets — especially shiny new ones. Bigger screens. Faster processors. Slimmer profiles. But what happens to our mobile phones, computers and televisions when we upgrade?

Some of them end up in a place like Agbogbloshie, a vast, poisonous dump in Ghana. A former wetland turned slum, the kilometer-long stretch of land is a toxic graveyard of computers, refrigerators and other trash. German photographer Kevin McElvaney documents the young people who pick through the piles, risking their lives in exchange for the meager sums they earn harvesting copper and other valuables.

Located in the city of Accra, Agbogbloshie is known by locals as Sodom and Gomorrah for its hellish conditions and blackened ground that resembles an open sore. The scavengers, typically between 7 and 25, sift through the refuse, setting fire to piles of rubbish to remove the rubber and plastic concealing the more valuable materials within. McElvaney uses the apocalyptic setting as a backdrop for remarkably intimate portraits of the people eking out a living from discarded electronics. “I wanted to make the people the subject, not the fires,” he says.

Many of the workers are from northern Ghana or neighboring countries like Ivory Coast. They’re poor, and often see Agbogbloshie as a way to make a quick buck and move on. They work with bare hands, often in flip-flops, breathing in toxic fumes to earn an average of $2.50 a day. Though most plan to only work for a few weeks, many soon suffer from breathing problems, insomnia, nausea and crushing headaches. Cancer and other illnesses are rumored to kill many e-waste workers by their 20s. Some ease their pain with drugs, but must work the fields to buy them. “It’s a vicious cycle,” McElvaney says.

On the northwest side of Agbogbloshie, boys built a bridge with old monitors. There are so many monitors in Agbogbloshie that it was turned into a raw material for construction. Towers are built from keyboards and refrigerators are used as walls for houses. On the northwest side of Agbogbloshie, boys built a bridge with old monitors. There are so many monitors in Agbogbloshie that it was turned into a raw material for construction. Towers are built from keyboards and refrigerators are used as walls for houses. Kevin McElvaney

Despite the growing awareness of sites like Agbogbloshie, e-waste doesn’t seem to be slowing. According to United Nations University, the world discarded some 46 million tons of electronic gadgetry last year. Less than one-sixth was properly recycled or reused. It’s only going to get worse. Global e-waste is expected to 55.1 million tons in 2018.

China and the United States produce the most waste—32 percent of the global total last year—and some of that stuff is landing in Agbogbloshie. Jim Puckett, executive director of the Basel Action Network, a watchdog group that monitors e-waste, says he saw computers stamped with American government logos when he visited the site in 2012. Some probably were re-used but others were discarded.

“People just load up containers to places like Ghana with enough working stuff to satisfy the importers and and then the rest is junk, and that junk gets smashed,” Puckett says.

McElvaney agreed not much has changed. Nonprofit recycling programs provide jobs and a safer way to recycle copper, but lack the resources to hire everyone. Many still turn to the smoking fields.

Although his portraits have received worldwide attention, McElvaney wants to continue raising awareness. He’s built a traveling exhibition and is looking for a place to show in the United States. He’s also auctioning prints to benefit non-profits in Agbogbloshie.

“I think it’s important to keep pushing for change that has a real impact,” he says. “[Agbogbloshie and what’s happening there] is still an important issue.”

The Crazy Schemes of the World’s Most Surprising Car Exec

A career at the top of a car company often can be measured in eye blinks. Most car CEOs rise to the crest of a brand, hold onto the desk for a few years, and then retire or get forced out.

And then there’s Ferdinand PiĂ«ch.

PiĂ«ch, 77, is the grandson of Ferdinand Porsche. He’s currently the chairman of the supervisory board of the Volkswagen Group, the world’s third-largest automaker. He is ferociously cunning with a reputation for making crazy calls, and he has been at the top of VW or one of its brands since the late 1970s. (VW also owns Bugatti, Lamborghini, Bentley, Ducati, Audi, and Porsche, among others.) And while there are larger corporations in this business, no one else seems to hold, or as boldly exercise, such autocratic control. This is, after all, the man who pushed—some say steamrolled—the 1,000-hp Bugatti Veyron to production, a move that reportedly produced a whopping seven-figure loss per car.

Consider that for a moment. Long past the average retirement age, this gent greenlit one of the largest automotive losses in history and managed to keep his job. Moreover, he was hailed as a hero. Rare stuff.

On April 10th, PiĂ«ch was quoted as being “at a distance” from VW’s current CEO, Martin Winterkorn. The breathless media rumbling that ensued culminated last week with a rare PiĂ«ch defeat, but it also served as a healthy reminder of the man’s power and influence: The idea that PiĂ«ch’s dissatisfaction could mean the end of Winterkorn was not a crazy one.

For a better sense of the man, here’s a look at some of his wilder decisions—nearly all of which worked out shockingly well.

 Bugatti Veyron. Bugatti Veyron. VW

Bugatti Veyron (2005–2015)

For 10 years, the Veyron was the world’s most powerful series-production automobile. The Bugatti Veyron was commissioned by Germans, assembled in France, and slapped with a badge started by an Italian-born Francophile. It sported 16 cylinders, four turbochargers, and in final form, a top speed of 254 mph. Just 450 were built. Each owes its existence directly to PiĂ«ch.

In 1998, as chairman of VW’s board of management, PiĂ«ch spearheaded the acquisition of Bugatti. He also pushed the Veyron into development and essentially dictated its target metrics and styling. Late in R&D, when Bugatti engineers asked for design changes to help make the Bugatti more stable at speed, PiĂ«ch insisted the bodywork stay unaltered. Wendelin Wiedeking, once the CEO of Porsche, called this and similar PiĂ«ch moves “vanity projects.”

One of those two men is still with the company. No points for guessing which.

Volkswagen Phaeton. Volkswagen Phaeton. VW

Volkswagen Phaeton (2003–Present)

VW got its start producing the ubiquitous Beetle, an air-cooled wonder that helped put postwar Europe on wheels. The Phaeton, first sold as a 2003 model and still in production in Europe (it was discontinued here in 2006), did nothing of the sort. For one thing, the Phaeton is a range-topping luxury car, and the Beetle was . . . a Beetle. For another, the Phaeton offered an optional 6.0-liter, 420-hp W-12 that was effectively three-fourths of a Veyron engine sans turbochargers. And finally, when the car arrived here in 2004, it cost a whopping $73,365. There was a $1,300 gas-guzzler tax on the base V8. The W-12 more than doubled that. And the badge on the hood was still . . . Volkswagen.

PiĂ«ch pushed the Phaeton into production despite internal protest. (Spotting a trend?) According to Top Gear, PiĂ«ch, a former engineer, gave the car’s engineers a host of metrics to meet, one of which was that the car be able to sustain 186 mph all day, in 122-degree weather, with an interior temperature of 72 degrees.

The car flopped in America, largely due to this country’s refusal to spend Mercedes money on a Beetle brand. But the engineering was sound, and the model’s core base was vehement. (My friend Jack Baruth, for example, owned two Phaetons simultaneously. He claims to have bought the second car because his wife borrowed the first and refused to give it back.)

VW has long toyed with the idea of bringing the car back to America. Maybe it’ll happen, maybe not. Either way, ballsy.

Porsche 917. Porsche 917. VW

Porsche 917 (1969–1973)

PiĂ«ch’s ties to Porsche cannot be overstated. In the early 1960s, he dove into the company’s competition department, helping give life and wins to cars like the 906 and the 904 GTS 6. But above all, he is known for the 220-mph 917.

The 917 has been called the most influential race car of its era, and it was certainly one of the most dominant. This quasi-production, 12-cylinder, 500-plus-horsepower sports-racer was the culmination of Porsche’s early efforts to tackle the 24 Hours of Le Mans endurance race. It remains the brand’s most evocative car and the subject of A-list adoration. Jerry Seinfeld has owned at least one, and Steve McQueen drove one on film.

The 917 won Le Mans in 1970 and 1971—the first in a trail of astonishing success at the French classic that stretches to the modern era. Piech led the project, spearheading everything from design, with legendary engineer Hans Mezger, to tricking French motorsport officials into believing Porsche had built the minimum number of 917s required for competition.

This was PiĂ«ch at his most passionate, a man in his prime. It’s no coincidence that his efforts helped define a company he later came to control.

Volkswagen XL1. Volkswagen XL1. VW

Volkswagen XL1 (2014)

It is a two-cylinder, turbodiesel plug-in hybrid made of carbon fiber, aluminum, and plastic. It looks like an 1800-pound suppository. There is no sound deadening, and the windows raise with cranks, to save weight. Those windows are made of plastic for the same reason. As with the original Beetle, the engine lives in the rear and drives the rear wheels.

VW says that, with proper attention to battery charge, the car will get 261 miles per gallon. If you never plug it in, that figure drops to 140. Each of these numbers is astonishing. And yes, this is a real car. It is not sold in America, only in Europe. It costs around $145,000, which, if you’ve ever seen an XL1, seems like a bargain. This is in many ways our automotive future, a pioneering thing, and it was pushed into production by you-know-who.

If we have to tell you why this car is fantastic, you’re on the wrong site.

Audi Quattro. Audi Quattro. Audi

Audi Quattro (1980–1991)

PiĂ«ch was chairman of Audi’s board of management from 1988 to 1992—smack in the middle of the company’s most trying time. But from 1974 to 1988, he was the marque’s head of technical development. He arrived at the brand in 1972, leaving a position at Porsche following infighting and a landmark ruling that kept family members from being executives.

Suitably pissed at being ejected from the family business, PiĂ«ch took on Audi. He helped give the wandering company direction, cementing its focus on technology. Among other things, he led the push that produced Audi’s first successful V-8 and its pioneering work with five-cylinder engines. Also turbocharging and aluminum construction.

But chiefly, he spearheaded the Audi Quattro. The car that gave its name to Audi’s epochal four-wheel-drive system—the latter still defines the brand—was nothing less than a landmark. It was the first practical all-wheel-drive sports car, a rally-racing monster, and the first machine to bring turbocharged, all-weather performance to the masses. At the time, it must’ve seemed insane: All-wheel-drive was reserved for trucks and heavy, expensive performance cars. Turbocharging was seen as costly, unreliable technology. And then . . . PiĂ«ch. The industry followed his lead, and the Quattro’s blueprint is now the majority rule in showrooms.

The Wolfsburg Autostadt. The Wolfsburg Autostadt. VW

The Wolfsburg Autostadt

The city of Wolfsburg, Germany houses Volkswagen’s main production plant. For years, it was a gray, uninspiring place. In the 1990s, PiĂ«ch decided to build a new car delivery center there. It would, he said, double as an amusement park and museum. Hundreds of people would pick up their cars every day, have a fun family outing, and go home happy. People insisted it was a terrible idea, that no one would come to dreary Germany just to pick up a car. That you couldn’t possibly deliver that many vehicles without making a mess of things. The media mocked PiĂ«ch directly, calling the place made-up names.

Turns out they were all wrong. The Autostadt (“Car City”) that PiĂ«ch ordered was built in 2000. It’s cool, genuinely fun, and astonishing to behold. Around 500 people take delivery of a new Volkswagen there every single day, aided by two gigantic, 157-foot-tall automated parking garages. Each one can hold up to 400 vehicles. You look at them, and you think, “Only a madman could have built this.”

Massive, high-tech delivery centers for new cars are now big business. Go figure.

Lamborghini Aventador. Lamborghini Aventador. VW

Luxury Consumption En Masse

In 1998, Audi bought Lamborghini. The same year, VW acquired Rolls-Royce and Bentley (Rolls was later sold to BMW). The company has since absorbed Porsche and Ducati. As with Bugatti, all of these brands are known for amazing products and financial instability. PiĂ«ch was a driving force in the purchase of each.

Some claim his moves have overloaded VW’s plate, and that the German company should focus solely on making great Volkswagens. And on paper, it sounds crazy—–it would seem that no one company could effectively manage so many different products.

Here’s the thing, though: New Volkswagens have never been better. The bright lights, like the current GTI or Audi A3, are some of the best cars you can buy. And every single brand the company has acquired is legitimately healthier and producing better machinery than ever before.

Lamborghinis use Audi components but still feel special. The Bentley Continental GT has roots in the Phaeton and less expensive Audi products, but sales are strong and customers don’t seem to care. Porsche has managed to spread its brand to encompass SUVs and sedans without losing its focus on motorsport. There are even signs of life (and smart business sense) at perpetually troubled Ducati.

Much of this came about because PiĂ«ch pushed for smart expansion. Each brand in the VW Group helps out the others. Granted, there are hitches. Porsche’s development engineers are reportedly stretched razor-thin, because they’re good, and everyone wants their help. And Bentleys probably shouldn’t feel like their navigation systems were lifted from an Audi that costs a third as much. But the core idea is revolutionary.

Proof? In the past decade, more than a few other car companies have moved toward PiĂ«ch’s model.