Design Forward: Creative Strategy and Sustainable Change

The process by which news turns into history is a strange one: nothing ages faster than new technology, for instance. But the personal computer is making its transition to the area of history—the laptop, the PDA, the mobile phone all will follow soon. One recent part of the process is a new book from Hartmut Esslinger, the founder of frogdesign (“Frog”), the firm that worked with Apple Design in the 1980s. Esslinger’s book is an illustration of this process in action. (In a token of 1960s, counterculture informality, Esslinger insisted on spelling the name frogdesign, with a lowercase initial, which was undone by the firm’s later acquisition by a larger corporation.)

Esslinger emphasizes the idea of “strategic design” as a key business discipline. His other clients included Lufthansa, A.T.&T, Louis Vuitton, Sony, and SAP. The book also includes work with his students at the University of Applied Arts in Vienna.

Praise for Apple design has tended to focus on Jonathan Ive and his staff and ignore the longstanding, but quite different contributions of Esslinger and Bob Brunner. In a reminder of the company’s earliest days, Esslinger includes photos of “concept” products mocked up for Apple. These early Apple products suggest a wide level of experimentation. They include upright workstations, amazingly contemporary laptops, small computers (“Baby Mac”) and the “MacPhone,” a slate with stylus and telephone handset—attached with a cord.

In retrospect, the question that is clear and is the nature of Apple’s success was figuring out which technologies were mature enough for which designs. The stylus-driven screens, say, or integrated telephones or some of the cooler concepts were not commercially ready in the late 1980s.

There is a consistency in appearance to the concepts. Frog’s achievement was to bring to Apple the idea of a consistent corporate design language, as practiced by Sony and IBM (or Kodak for that matter.) Esslinger named his “Snow White.”

The language stipulated the regular use of color, gridded ventilation areas, and consistently radiused corners for all Apple products. Its name referred initially to seven Apple product lines—“dwarves”—that were to be designed but also perhaps an echo of the fairy-tale Snow White. Esslinger had been inspired by the design consistency of Sony and of Braun. But he saw the limits of pure, cold geometric modernism. Snow White evoked “Snow White’s coffin”—the famous nickname given to an iconic Braun radio/record player hi-fi unit.

Steve Jobs left Apple in 1985 and Frog’s work for the company soon stopped. Frog went on to work on Job’s start-up, Next.

Apple was only one of the high-tech companies and projects Esslinger and frogdesign worked on. One interesting example, around the same time as Apple’s Newton handheld, was the 1993 A.T.&T. EO “personal communicator.”

It is amazing how fast high-tech projects and products can be forgotten—think of Palm Pilots and CD ROMs. But it is critical that designers record these early days of digital technology to avoid repeating mistakes. Many quirks of design turn out to have been the results of technological limits of the time that ended up embedded in our common standards. And many early ideas that were impractical at the time could now be successfully revived. One of the virtues of Esslinger’s book is to give us a longer-view technological perspective at a time when we narrowly focus on this month’s or even this week’s technological innovations. His lesson is about matching design and technology.