and, in Esslinger’s not-so-modest words, “that handshake launched one of the most decisive collaborations in the history of industrial design.”
2
Esslinger’s firm, frogdesign, opened in Palo Alto in mid-1983 with a $1.2 million annual contract to work for Apple, and from then on every Apple product has included the proud declaration “Designed in California.”
From his father Jobs had learned that a hallmark of passionate craftsmanship is making sure that even the aspects that will remain hidden are done beautifully.
One of the most extreme—and telling—
implementations of that philosophy came when he scrutinized the printed circuit board that would hold the chips and other components deep inside the Macintosh. No consumer would ever see it, but Jobs began critiquing it on aesthetic grounds. “That part’s really pretty,” he said. “But look at the memory chips.
That’s ugly. The lines are too close together.”
One of the new engineers interrupted and asked why it mattered. “The only thing that’s important is how well it works. Nobody is going to see the PC board.”
Jobs reacted typically. “I want it to be as beautiful as possible, even if it’s inside the box. A great carpenter isn’t going to use lousy wood for the back of a cabinet, even though nobody’s going to see it.” In an interview a few years later, after the Macintosh came out, Jobs again reiterated that lesson from his father: “When you’re a carpenter making a beautiful chest of drawers, you’re not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You’ll know it’s there, so you’re going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through.”
From Mike Markkula he had learned the
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importance of packaging and presentation. People do judge a book by its cover, so for the box of the Macintosh, Jobs chose a full-color design and kept trying to make it look better. “He got the guys to redo it fifty times,” recalled Alain Rossmann, a member of the Mac team who married Joanna Hoffman. “It was going to be thrown in the trash as soon as the consumer opened it, but he was obsessed by how it looked.” To Rossmann, this showed a lack of balance; money was being spent on expensive packaging while they were trying to save money on the memory chips. But for Jobs, each detail was essential to making the Macintosh amazing.
When the design was finally locked in, Jobs called the Macintosh team together for a ceremony. “Real artists sign their work,” he said. So he got out a sheet of drafting paper and a Sharpie pen and had all of them sign their names. The signatures were engraved inside each Macintosh. No one would ever see them, but the members of the team knew that their signatures were inside, just as they knew that the circuit board was laid out as elegantly as possible. Jobs called them each up by name, one at a time. Burrell Smith went first. Jobs waited until last, after all forty-five of the others. He found a place right in the center of the sheet and signed his name in lowercase letters with a grand flair. Then he toasted them with champagne. “With moments like this, he got us seeing our work as art,” said Atkinson.
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CHAPTER THIRTEEN
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BUILDING THE MAC
The Journey Is the Reward
Competition
When IBM introduced its personal computer in August 1981, Jobs had his team buy one and dissect it.
Their consensus was that it sucked. Chris Espinosa called it “a half-assed, hackneyed attempt,” and there was some truth to that. It used old-fashioned command-line prompts and didn’t support bitmapped graphical displays. Apple became cocky, not realizing that corporate technology managers might feel more comfortable buying from an established company like IBM rather than one named after a piece of fruit. Bill Gates happened to be visiting Apple headquarters for a meeting on the day the IBM PC was announced. “They didn’t seem to care,” he said. “It took them a year to realize what had happened.”
Reflecting its cheeky confidence, Apple took out a full-page ad in the Wall Street Journal with the headline
“Welcome, IBM. Seriously.” It cleverly positioned the upcoming computer battle as a two-way contest between the spunky and rebellious Apple and the establishment Goliath IBM, conveniently relegating to irrelevance companies such as Commodore, Tandy, and Osborne that were doing just as well as Apple.
Throughout his career, Jobs liked to see himself as an enlightened rebel pitted against evil empires, a Jedi warrior or Buddhist samurai fighting the forces of darkness. IBM was his perfect foil. He cleverly cast the upcoming battle not as a mere business competition, but as a spiritual struggle. “If, for some reason, we make some giant mistakes and IBM wins, my personal feeling is that we are going to enter sort of a computer Dark
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Ages for about twenty years,” he told an interviewer.
“Once IBM gains control of a market sector, they almost always stop innovation.” Even thirty years later, reflecting back on the competition, Jobs cast it as a holy crusade: “IBM was essentially Microsoft at its worst.
They were not a force for innovation; they were a force for evil. They were like ATT or Microsoft or Google is.”
Unfortunately for Apple, Jobs also took aim at another perceived competitor to his Macintosh: the company’s own Lisa. Partly it was psychological. He had been ousted from that group, and now he wanted to beat it. He also saw healthy rivalry as a way to motivate his troops. That’s why he bet John Couch $5,000 that the Mac would ship before the Lisa. The problem was that the rivalry became unhealthy. Jobs repeatedly portrayed his band of engineers as the cool kids on the block, in contrast to the plodding HP
engineer types working on the Lisa.
More substantively, when he moved away from Jef Raskin’s plan for an inexpensive and underpowered portable appliance and reconceived the Mac as a desktop machine with a graphical user interface, it became a scaled-down version of the Lisa that would likely undercut it in the marketplace.
Larry Tesler, who managed application software for the Lisa, realized that it would be important to design both machines to use many of the same software programs. So to broker peace, he arranged for Smith and Hertzfeld to come to the Lisa work space and demonstrate the Mac prototype. Twenty-five engineers showed up and were listening politely when, halfway into the presentation, the door burst open. It was Rich Page, a volatile engineer who was responsible for much of the Lisa’s design. “The Macintosh is going to destroy the Lisa!” he shouted. “The Macintosh is going to ruin Apple!” Neither Smith nor Hertzfeld responded,
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so Page continued his rant. “Jobs wants to destroy Lisa because we wouldn’t let him control it,” he said, looking as if he were about to cry. “Nobody’s going to buy a Lisa because they know the Mac is coming! But you don’t care!” He stormed out of the room and slammed the door, but a moment later he barged back in briefly. “I know it’s not your fault,” he said to Smith and Hertzfeld.
“Steve Jobs is the problem. Tell Steve that he’s destroying Apple!”
Jobs did indeed make the Macintosh into a low-cost competitor to the Lisa, one with incompatible software. Making matters worse was that neither machine was compatible with the Apple II. With no one in overall charge at Apple, there was no chance of keeping Jobs in harness.
End-to-end Control
Jobs’s reluctance to make the Mac compatible with the architecture of the Lisa was motivated by more than rivalry or revenge. There was a philosophical component, one that was related to his penchant for control. He believed that for a computer to be truly great, its hardware and its software had to be tightly linked. When a computer was open to running software that also worked on other computers, it would end up sacrificing some functionality. The best products, he believed, were “whole widgets” that were designed end-to-end, with the software closely tailored to the hardware and vice versa. This is what would distinguish the Macintosh, which had an operating system that worked only on its own hardware, from the environment that Microsoft was creating, in which its operating system could be used on hardware made by many different companies.
“Jobs is a strong-willed, elitist artist who doesn’t want his creations mutated inauspiciously by unworthy programmers,” explained ZDNet’s editor Dan Farber. “It
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