Instead, the rest of the world has had to raise its game to catch up. Apple designs are globally ubiquitous, yet at no point has the quality of execution ever dropped. Arguably, the company has done more to democratise the understanding and perception of design, both in its physical manifestation and as a way of guiding and shaping behaviours. After three years, we couldn’t believe more in the vision of having one central Design Team across all Apple products.’įrom the outset, Apple’s aesthetic ethos set it apart. It’s not just how things look, it’s about how things work. ‘We always remember him saying that design is not just a veneer. Steve defined Apple by its design,’ says Dye. ‘We care about making great products, but we’ve worked equally hard at making a great team and culture. Hankey and Dye are adamant that the team wouldn’t be what it was without the deep-rooted cultural bias towards design in Apple. It really took a lot of time to try new things out and be a little bit outside our comfort zones.’ It was a challenge, not an automatic win. ‘We got to where we were as a team because of our cultures and our processes. ‘We knew very much that this was a massive opportunity, but we also knew that it also had to be more than just adjacencies,’ she says of their new-found centralisation. Yet Hankey stresses that it didn’t happen overnight. ‘We can have industrial designers sat next to a font designer, sat next to a sound designer, who is sat next to a motion graphics expert, who is sat next to a colour designer, who is sat next to somebody who is developing objects in soft materials.’Īll this has come to pass and more. ‘ can share the same studio,’ Ive told Wallpaper* in 2017. The team before us now very much reflect the realisation of the two men’s aspirations for a bespoke Apple building. Ive was intensely involved with the building’s design (as was Steve Jobs during the project’s early stages). Outwardly, the iPhone embodies meticulous minimalism: tap the surface and myriad worlds are revealed, just like at Apple Park. Seventeen years after Ive created the first iPhone prototype, the latest generation iPhone 13 hasn’t lost any of the magical tactility and sensory delight of its forebears. It’s the same with the device in your pocket. From the natural ventilation systems to the multilayered glazing, from the bespoke door handles to the 9,000 carefully specified trees, every single facet of this multibillion-dollar structure has been subjected to the kind of scrutiny most designers can only dream of. However, it is a 260,000 sq m machine of massive complexity. From a distance, all is sleek and seamless, with barely a hint of what lies beneath the quarter-kilometre-long façade.
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