Drive: For the next attempt. - Page 19

Editor’s note

The forward room

Drive is not a command to move faster. This edition gathers forms of momentum that can survive doubt: discipline, courage, repair, patience and the dignity of another attempt.

Q1852

WonderEvolution

Hawaiian silverswords, shrubs, cushion plants, vines and trees evolved from one colonizing tarweed lineage, an extraordinary morphological range across the islands' habitats.

An ancestor related to North American tarweeds reached remote Hawaii and met ecological opportunities with few close competitors. Its descendants stretched one lineage into ground-hugging mats, woody shrubs, vines and trees, including Haleakalā's reflective silverswords. The spectacle is botanical engineering across altitude: bark, water-storing tissue, cushions and silver leaves assembled from shared ancestry.

Silversword allianceRead card

Q1853

WonderEvolution

Hybridization between cichlid lineages mixed genetic variation that selection could reshape into specialized jaws, feeding strategies, colours and habitats across Africa's Great Lakes.

When formerly separated lineages met, their genomes could recombine variants shaped by different histories. That mixed inheritance gave selection new combinations as cichlids split ecological work: scraping algae, crushing shells, hunting fish or feeding in open water. Their rapidly remodelled jaws make diversity tangible. In these radiations, exchange between lineages was not noise around evolution; it helped furnish its raw material.

CichlidRead card

Q1855

WonderEvolution

Polyploidy duplicates whole chromosome sets, and repeated whole-genome duplications have supplied plant lineages with redundancy that can enable divergence, novelty and speciation.

A duplicated genome creates immediate complications: pairing chromosomes, balancing expression and reproducing successfully. Yet it also creates spare gene copies that can divide old work or acquire new functions, and it can isolate a lineage from its diploid relatives. Duplication is not automatic progress; it is a risky surplus from which evolution sometimes makes room to experiment.

PolyploidyRead card

Q1858

WonderArchaeology

Blombos Cave preserves engraved ochre, shell beads and roughly 100,000-year-old ochre-processing kits, evidence of complex planning and symbolic material practices.

Inside the South African cave, people ground ochre, mixed compounds in abalone shells, pierced beads and incised repeated designs. No single object carries the whole argument, but together they reveal sequences of action, stored knowledge and attention to signs. The archive is powerful because thought survives indirectly—in recipes, wear, arrangement and marks made to endure.

Blombos CaveRead card

Q1859

WonderArchaeology

The Schöningen finds include carefully balanced wooden hunting weapons; form and experiments indicate that at least some were capable of effective flight, while their precise age remains under review.

Waterlogged deposits at Schöningen preserved wooden objects that normally vanish from deep prehistory. Craftspeople selected trunks, controlled taper and balance, and used the weapons in a landscape rich with horse remains. New dating work continues to refine when the assemblage was made; the durable conclusion is technological sophistication, not one immutable number.

Schöningen spearsRead card

Q1870

WonderArchaeology

The Dover Bronze Age Boat was built from oak planks sewn together with yew lashings, then sealed with plant material and animal fat to keep out the sea.

Excavators recovered a section more than nine metres long beneath modern Dover, where waterlogged ground had protected the wood. Giant yew ties pass through carefully cut cleats, while moss and a fatty compound helped seal the joints. The technique looks unfamiliar only because metal fasteners dominate our imagination. Its builders understood timber as something to shape, bind and let move: a hull engineered with the logic of a seam.

Dover Bronze Age BoatRead card

Q1872

WonderArchitecture

The walled city of Shibam in Yemen gathers multi-storey mud-brick tower houses into one of the world's earliest and densest experiments in vertical urban living.

Many surviving towers date from the sixteenth century onward and rise as high as seven storeys within a compact defensive wall. Narrow plots push rooms upward; party walls, shaded lanes and closely packed entrances compress a city into limited ground. Height here is an urban answer to enclosure: families, circulation and storage stack vertically so the settlement can grow without spilling beyond its fortified edge.

Old Walled City of ShibamRead card

Q1875

WonderArchitecture

Built by Shona communities between the eleventh and fifteenth centuries, Great Zimbabwe joined monumental dry-stone enclosures to a trading state connected with the Indian Ocean world.

Granite blocks were set without mortar into sweeping walls whose chevrons and curves display exacting craft. Excavations found glass beads, Chinese and Persian ceramics, gold and coins from Kilwa: an inland city speaking materially to distant coasts. Colonial antiquarians resisted the evidence of African authorship because the architecture contradicted their ideology; archaeology eventually made that denial untenable. The Shona word dzimbabwe means houses of stone, and the modern country carries the city's name.

Great ZimbabweRead card

Q1876

WonderEngineering

The Shushtar Historical Hydraulic System channels the Karun River through dams, bridges, tunnels, canals and mills in an integrated landscape of water engineering.

At Shushtar in Iran, water is diverted, divided, accelerated through tunnels and sent cascading into a downstream basin by works built and altered across many centuries. Channels served irrigation, urban supply and water-powered industry; bridges could also act as dams. The system works through sequence and gradient: a gate prepares the flow for a tunnel, a tunnel drives a mill, and each structure conditions the water received by the next.

Shushtar Historical Hydraulic SystemRead card

Q1880

WonderDesign

Girih design uses a small family of polygonal tiles and guiding lines to assemble vast interlaced patterns, including arrangements with striking near-quasicrystalline order.

The visible stars and strapwork can look impossibly hand-calculated, yet an underlying kit of tile shapes lets makers plan complexity across large surfaces. Lines drawn on each tile continue across its neighbours, so local decisions lock into a much bigger order. Some fifteenth-century examples echo self-similar and nearly non-repeating structures described by modern mathematics much later. Craft did not wait for the vocabulary that would eventually admire it.

Girih tilesRead card

Q1882

WonderTrade

Kilwa Kisiwani became a major Swahili trading city, exchanging African gold and ivory across the Indian Ocean and building mosques, palaces and houses in coral stone.

From the thirteenth to sixteenth centuries, Kilwa linked inland resources to merchants and ports reaching Arabia, Persia, India and China. Imported ceramics entered local rooms; coins minted at Kilwa circulated authority along the coast. Its ruins reject the old fiction that oceans separate history into isolated shores. The Indian Ocean was connective tissue, and this island city was one of its articulate knots.

Kilwa KisiwaniRead card

Q1883

WonderEngineering

In the float-glass process, a continuous ribbon of molten glass spreads across a bath of molten tin, producing smooth, nearly parallel faces without laborious grinding.

Pilkington developed the industrial process in the 1950s after years of expensive trial, exploiting the fact that glass can ride on denser tin without mixing with it. Gravity and surface tension do the levelling, then controlled cooling locks the sheet into place. The innovation hides inside almost every ordinary pane. Transparency looks like absence, but producing it at architectural scale required a river of fire balanced on another liquid.

Float glassRead card

Q1884

DriveEngineering

The Bessemer process forced air through molten pig iron so oxidation burned away excess carbon, silicon and manganese, allowing steel to be produced faster and at far greater scale.

In a pear-shaped converter, incoming air did not simply cool the metal; oxidation generated fierce heat as carbon, silicon and manganese burned away. The original acid-lined process could not remove phosphorus, so it depended on suitable low-phosphorus iron until later basic linings broadened its reach. Even with that limit, it broke a production bottleneck that had kept steel costly. Rails, bridges, ships and cities gained a new material tempo.

Bessemer processRead card

Q1885

DriveEngineering

Prestressing tensions steel tendons so concrete begins in compression, helping it resist cracking and span farther when service loads later try to pull it apart.

Concrete is formidable in compression but vulnerable in tension. Engineers answer that asymmetry by stretching high-strength steel before or after casting, then transferring a deliberate squeeze into the member. When traffic or gravity arrives, part of its tensile demand first has to cancel that stored compression. The structure performs because its forces have been choreographed in advance: an invisible rehearsal held inside a bridge deck or beam.

Prestressed concreteRead card

Q1886

DriveEngineering

Cross-laminated timber bonds boards in cross-oriented layers, usually at right angles, creating large, stable panels that can carry loads as walls, floors and roofs.

A board is strongest and most changeable along particular directions set by its grain. CLT crosses those tendencies, so each layer helps restrain the next while the stack behaves as a plate rather than a bundle. Panels can be digitally cut for openings before reaching site, shifting labour from scaffold to factory. The material is not simply a return to wood; it is timber rethought as a precise, layered structural system whose climate value still depends on forestry, adhesives, transport and long service life.

Cross-laminated timberRead card

Q1887

WonderTechnology

Invented by Leo Baekeland in 1907, Bakelite was the first fully synthetic plastic and a heat-resistant electrical insulator that could be moulded into mass-produced forms.

Radios, telephone housings, switches and handles could now take durable forms without being carved from wood, horn or ivory. Once cured, the thermoset would not simply melt back into softness, which made it useful near heat and current. Its colours were often deep and limited, yet designers found a new visual language in rounded shells and integral details. Bakelite promised matter on demand; the century that followed would learn both the freedom and the environmental bill of that promise.

BakeliteRead card

Q1888

WonderEngineering

In suitable wet-dry conditions, weathering steel develops a tightly adhering oxide patina that slows further corrosion and can eliminate the need for paint.

Ordinary rust can flake away and expose fresh metal, continuing the cycle. Weathering alloys instead encourage a dense surface layer that limits the arrival of oxygen and moisture beneath it, while colour deepens from orange toward dark brown. The trick is conditional: persistent dampness, salt and poor detailing can defeat the patina. It is a material with an argument built in—the weather is not merely an attacker, but part of the finishing process.

Weathering steelRead card

Q1889

WonderEngineering

Wootz was a high-carbon crucible steel produced in South Asia and traded as ingots, prized for the carbide-rich structures that could emerge in forged blades.

Made in sealed crucibles in parts of southern India and Sri Lanka from at least the first millennium BCE, wootz concentrated carbon with remarkable control. Ingots travelled west, where skilled forging could reveal flowing surface bands associated with historic Damascus blades. The pattern was not paint; it came from the steel's internal microstructure and the care of heat treatment. Long before modern materials science, manufacture, trade and craft were already collaborating at the scale of crystals.

Wootz steelRead card

Q1890

WonderEngineering

A Fresnel lens divides the curved bulk of a conventional lens into concentric zones, concentrating light with far less glass and weight.

Augustin-Jean Fresnel's nineteenth-century design preserved the light-bending angles that mattered while discarding much of the solid glass between them. Prismatic rings gathered lamp light into a powerful horizontal beam that could warn ships from far offshore. The object looks ornate, almost jewel-like, yet its beauty comes from ruthless optical editing. It is a reminder that invention sometimes means keeping the effect and subtracting the mass.

Fresnel lensRead card

Q1891

WonderEngineering

A tuned mass damper moves out of phase with a swaying structure, absorbing energy and reducing the motion felt by the building and its occupants.

Taipei 101 makes the principle visible with a gold-coloured steel sphere 5.5 metres across, suspended between upper floors. When strong wind pushes the tower one way, the mass lags and swings against that motion while dampers turn energy into heat. The tower still moves, but more slowly and through a smaller arc, protecting comfort as well as structure. Stability comes from a carefully timed counter-movement.

Tuned mass damperRead card

Q1892

DriveEngineering

Seismic base isolation places flexible bearings or sliding systems between a structure and its foundation, reducing the ground motion transmitted upward.

A conventional building tends to inherit every rapid shift of the ground beneath it. Isolators lengthen the structure's response and permit controlled movement at the base, so upper floors experience gentler accelerations and sensitive contents have a better chance of surviving. The method requires room to travel: seismic gaps, flexible utility connections and carefully designed bearings are part of the safety system. Much of the ground's rapid motion is accommodated below instead of being passed into the occupied structure.

Seismic base isolationRead card

Q1894

WonderDesign

Ettore Sottsass and Perry King's Valentine portable typewriter placed a working machine inside a vivid red ABS shell and carrying case, reframing office equipment as a personal object.

Most typewriters of its era announced duty in black, grey or beige. Valentine arrived like a small piece of pop architecture: bright, portable and deliberately informal, with its case becoming part of the silhouette. It did not make typing weightless, nor was it the cheapest tool on the desk. Its achievement was emotional positioning—showing that even a serious machine could invite movement, identity and a little mischief.

Valentine portable typewriterRead card

Q1896

WonderDesign

Introduced in 1859, Thonet's No. 14 chair used steam-bent beech, a cane seat and a small set of standard parts to unite graceful form with mass production.

Michael Thonet's process persuaded solid wood into repeatable curves, reducing carving, joints and variation. Components could be made in quantity, packed compactly, shipped and assembled near the customer. By 1930, tens of millions had been sold, filling cafés without losing the line of a hand-drawn loop. No. 14 is a systems-design classic because the visible chair and the invisible factory, carton and supply chain were conceived as one object.

No. 14 chairRead card

Q1897

DriveDesign

The Ulm School of Design joined form-making to science, sociology, communication and industrial systems, helping define a rigorous postwar model of design education.

Founded in 1953 by Inge Scholl, Otl Aicher and Max Bill, the school grew from an ethical question: what kind of designed world should follow fascism and war? Its studios increasingly tested objects and messages through research, methods and real industrial constraints. Work connected to Braun and Lufthansa showed how a coherent system could extend across products or public identity. Ulm's lasting provocation is that design is not a surface department. It is a way institutions decide how they will behave.

Ulm School of DesignRead card

Move into another roomStillnessLet the noise settle.