Steve Jobs

Macintosh team came to share Jobs’s passion for making a great product, not just a profitable one. “Jobs thought of himself as an artist, and he encouraged the design team to think of ourselves that way too,” said Hertzfeld. “The goal was never to beat the competition, or to make a lot of money. It was to do the greatest thing possible, or even a little greater.” He once took the team to see an exhibit of Tiffany glass at the Metropolitan Museum in Manhattan because he believed they could learn from Louis Tiffany’s example of creating great art that could be mass-produced. Recalled Bud Tribble, “We said to ourselves, ‘Hey, if we’re going to make things in our lives, we might as well make them beautiful.’”
    Was all of his stormy and abusive behavior necessary?Probably not, nor was it justified. There were other ways to have motivated his team. Even though the Macintosh would turn out to be great, it was way behind schedule and way over budget because of Jobs’s impetuous interventions. There was also a cost in brutalized human feelings, which caused much of the team to burn out. “Steve’s contributions could have been made without so many stories about him terrorizing folks,” Wozniak said. “I like being more patient and not having so many conflicts. I think a company can be a good family. If the Macintosh project had been run my way, things probably would have been a mess. But I think if it had been a mix of both our styles, it would have been better than just the way Steve did it.”
    But even though Jobs’s style could be demoralizing, it could also be oddly inspiring. It infused Apple employees with an abiding passion to create groundbreaking products and a belief that they could accomplish what seemed impossible. They had T-shirts made that read “90 hours a week and loving it!” Out of a fear of Jobs mixed with an incredibly strong urge to impress him, they exceeded their own expectations. “I’ve learned over the years that when you have really good people you don’t have to baby them,” Jobs later explained. “By expecting them to do great things, you can get them to do great things. The original Mac team taught me that A-plus players like to work together, and they don’t like it if you tolerate B work. Ask any member of that Mac team. They will tell you it was worth the pain.”
    Most of them agree. “He would shout at a meeting, ‘You asshole, you never do anything right,’” Debi Coleman recalled. “It was like an hourly occurrence. Yet I consider myself the absolute luckiest person in the world to have worked with him.”

CHAPTER TWELVE

     

THE DESIGN
     
    Real Artists Simplify
     
    A Bauhaus Aesthetic
    Unlike most kids who grew up in Eichler homes, Jobs knew what they were and why they were so wonderful. He liked the notion of simple and clean modernism produced for the masses. He also loved listening to his father describe the styling intricacies of various cars. So from the beginning at Apple, he believed that great industrial design—a colorfully simple logo, a sleek case for the Apple II—would set the company apart and make its products distinctive.
    The company’s first office, after it moved out of his family garage, was in a small building it shared with a Sony sales office. Sony was famous for its signature style and memorable product designs, so Jobs would drop by to study the marketing material. “He would come in looking scruffy and fondle the product brochures and point out design features,” said Dan’l Lewin, who worked there. “Every now and then, he would ask, ‘Can I take this brochure?’” By 1980, he had hired Lewin.
    His fondness for the dark, industrial look of Sony receded around June 1981, when he began attending the annual International Design Conference in Aspen. The meeting that year focused on Italian style,and it featured the architect-designer Mario Bellini, the filmmaker Bernardo Bertolucci, the car maker Sergio Pininfarina, and the Fiat heiress and politician Susanna Agnelli. “I had come to revere the Italian designers, just like the kid in
Breaking Away
reveres the Italian bikers,” recalled Jobs, “so it was an amazing inspiration.”
    In Aspen he was exposed to the spare and functional design philosophy of the Bauhaus movement, which was enshrined by Herbert Bayer in the buildings, living suites, sans serif font typography, and furniture on the Aspen Institute campus. Like his mentors Walter Gropius and Ludwig