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"' JONATHAN IVE :
iPOD - iPHONE+++... "'
PART OF what makes so many of the Apple products that bear Jonanthan Ive's imprint so extraordinary, is how neatly their minimalism seems to reflect:
The invisible magic of the silicon chips within and how far they are from the kinds of things that you associate with the world 'machine' -how resolutely un-mechanical they are, in other words.
They aren't crafted objects in an artisanal sense. But while an iPhone seems so right and natural as an expression of the Digital Age, it is also a thing you want to touch, and to hold.
The MacBook Air is beautiful to look at, but it makes you want to touch its keys.
Jonathan Ive's designs aren't just lovely in an abstract way, as if they were pieces of minimalist sculpture.
They are real objects in the real world, to be touched and held and used and not just looked at. While they have none of the moving parts that we associate with machines, they were designed by someone-
Who knew and understood things were- before computers, and who does not want to throw away everything about the world of real objects even as he works to develop an aesthetic that reflects a digital age.
The Royal Suite at Claridge's in London is not where you would expect to be meeting with Jonathan Ive, the man who designed the iPod, the iPhone, the MacBook Air, and just about everything else that has made Apple the temple of holy minimalism-
Or with Marc Newson, the industrial designer whose airplane interiors, chairs, watches, jewelry, and clothing have made him, alongwith Ive, among the most influential modern designers in the world.
The Royal Suite is the opposite of sleek. The walls are not white, the carpets are not gray,the furniture is not by Mies van der Rohe. Never mind Ive's aesthetic, or Newson's.
In the stiff formality of of this sprawling, ornate suite theirs barely a hint even of The Art Deco that brings many of the other rooms at Claridge's out of the 19th century.
The suit's deep-blue dining room,which seats 10, looks as if it had been conceived as a place to sign a treaty.
Ive, Apple's chief of design, had come from the company's headquarters in Cupertino, in Silicon Valley, to meet with Newson-
His close friend, who lives in London and runs his own independent design firm, Marc Newson Ltd, to put the finishing touches on the first project they have ever collaborated on.
In an effort that is part connoisseurship, part creativity,and part curatorship, the two designers had assembled a group of more than 40 objects that were to be auctioned at Sotheby's in New York to benefit Product [Red], the eccentrically punctuated charity set up by:
Bono and Bobby Shriver in 2006 to support international efforts to fight H.I.V epidemic effort in Africa.
Two one-of-a-kind pieces -a metal desk and a special Leica camera, were designed by Ive and Newson in collaboration, specially for the auction. Several others,like a customized Steinway grand piano and a Georg Jensen silver pitcher-
Are variations on existing objects that Ive and Newson both liked and got the manufacturers to agree to tweak for the sale, generally by adding something red.
Steve Jobs did not bring Ive to Apple.
The designer joined the company in 1992, after its consulting contract with his London design studio, Tangerine, turned into the offer of a full-time position.
Jobs was not even there, he had been dismissed seven years earlier, and it would be another five years before he returned, a period during which Ive, frustrated at what he perceived:
As a diminishing respect for design at the company, came close to resigning and returning to England.
When Jobs came back to the company, in 1997, determined to bring his own austere, elegant aesthetic to its products, he found in Ive a sympathetic, willing, and talented partner: And the two became very close friends.
In some ways they were an odd pair. Ive had a gentle, easygoing manner, and his intensity is leavened by warmth.
No one ever described Jobs as easygoing. But the two shared an obsession with the details of consumer products, and like Ive -and Newson as well -Jobs thought that almost-
**Everything on the market was terrible**.
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