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The Interface: IBM and the Transformation of Corporate Design, 1945-1976 (A Quadrant Book), by John Harwood
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In February 1956 the president of IBM, Thomas Watson Jr., hired the industrial designer and architect Eliot F. Noyes, charging him with reinventing IBM’s corporate image, from stationery and curtains to products such as typewriters and computers and to laboratory and administration buildings. What followed—a story told in full for the first time in John Harwood’s The Interface—remade IBM in a way that would also transform the relationships between design, computer science, and corporate culture.
IBM’s program assembled a cast of leading figures in American design: Noyes, Charles Eames, Paul Rand, George Nelson, and Edgar Kaufmann Jr. The Interface offers a detailed account of the key role these designers played in shaping both the computer and the multinational corporation. Harwood describes a surprising inverse effect: the influence of computer and corporation on the theory and practice of design. Here we see how, in the period stretching from the “invention” of the computer during World War II to the appearance of the personal computer in the mid-1970s, disciplines once well outside the realm of architectural design—information and management theory, cybernetics, ergonomics, computer science—became integral aspects of design.
As the first critical history of the industrial design of the computer, of Eliot Noyes’s career, and of some of the most important work of the Office of Charles and Ray Eames, The Interface supplies a crucial chapter in the story of architecture and design in postwar America—and an invaluable perspective on the computer and corporate cultures of today.
- Sales Rank: #493080 in Books
- Brand: Harwood, John
- Published on: 2011-11-15
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 1.00" w x 7.00" l, 2.00 pounds
- Binding: Hardcover
- 336 pages
Features
- Used Book in Good Condition
Review
"This study is as essential for historians of postwar American architecture, corporate culture, and applied cybernetics as it is a vital archaeology of our current world of digitized experience, in which few aspects of daily life have not be restructured by the science and business of computing." - Barry Bergdoll, Columbia University
"Getting a look inside the box, and figuring out who stuffed the wires in there, is one of the pleasures of The Interface... 'The world once wondered: What would a computerized world look like?' The Interface reminds us of the question, and tells us who answered it." - The Daily
"This handsome, wide-ranging book makes clear that IBM's integrated design effort, in which a vision of the power and potential of information technology was married to a protean but cohesive aesthetic, is the forerunner of and model for Apple's equally--but by no means more--influential design achievement." - The Atlantic
"Harwood's Interface offers an insightful, engaging, and exquisitely researched account of the design of one of the twentieth century's most recognizable brands and most ubiquitous objects, the IBM computer." - Margaret Maile Petty, Victoria University of Wellington, NZ, in West 86th
Winner of the 2014 Alice Davis Hitchcock Award from the Society of Architectural Historians
"In this fascinating book, John Harwood shows clearly and convincingly how architects and industrial design consultants calculatedly worked with IBM to shape the public image of the corporation and its products. The Interface is eye-opening." —Henry Petroski, Duke University, author of The Pencil and The Essential Engineer
"This is not only a brilliant but a necessary book: design is the future of computing; the IBM design team run by Eliot Noyes was the most important in commercial history, and helped shape not only the industry but the modern world. The book almost couldn’t help being brilliant, given the extraordinary richness and depth of the design team Noyes assembled—a richness never equaled in design history—with Saarinen and Roche, Paul Rand and the Eames Studio plus Noyes himself contributing everything from architecture and graphics to industrial and machine design, films and museum exhibits. Anyone who cares about modern computing, modern design or the future of technology needs this book." —David Gelernter, Yale University
About the Author
John Harwood is associate professor of modern and contemporary architectural history at Oberlin College. He is the author, with Janet Parks, of The Troubled Search: The Work of Max Abramovitz and, with Jesse LeCavalier and Guillaume Mojon, of This Will--This.
Most helpful customer reviews
15 of 17 people found the following review helpful.
Good intentions but inaccurate and misleading
By Tom Hardy
I applaud the author's objective to present the historical context of the IBM Design Program as being the first comprehensive effort of an American corporation to successfully transform corporate identity across a broad range of design on a global basis. This extraordinary effort by Eliot Noyes, Paul Rand and Charles Eames as IBM's original corporate consultants is without peer.
However, while the author's intent is commendable, there are many glaring inaccuracies. One of several major errors is the author's assertion that after Noyes and Eames passed away in 1977, "...IBM did not deign to replace either of its leading consultants. A design system was in place, and it only required consultants in minor areas." In this regard, the author claims: "Richard Sapper was given responsibility for overseeing graphic and industrial design in the European laboratories, but the rest of Noyes's and Eames's responsibilities were distributed to a cadre of thirteen design managers."
I spent twenty-two years in the IBM Design Program (1970-1992) as an industrial designer, design center manager, division design manager and corporate head of the IBM Design Program and, as such, interacted directly with Noyes, Rand and Sapper during my tenure at the company. Therefore, I can attest to the fact that Richard Sapper was never given any responsibility whatsoever for overseeing graphic design in Europe, nor anywhere else in IBM for that matter. Furthermore, Sapper's industrial design responsibilities were on a global basis, not only limited to Europe as the author asserts. The IBM corporate consulting role for Sapper mirrored those of Noyes within the context of designing archetypal IBM products (as exemplified by Sapper's ThinkPad), and regularly providing advice and counsel for the entire IBM product line across 15 global IBM design centers.
Therefore, the author's concluding supposition of the IBM Design Program's "...eventual failure to outlast the lives of its main protagonists, Noyes, Eames and Rand", is woefully incorrect. While the presence of Noyes's overarching leadership was truly missed, Sapper was appointed to the product design consultancy position in 1980 and brought his extraordinarily successful innovation track record to IBM. Also, Rand continued to serve IBM as a corporate graphic design consultant into the 1990s and also recommended distinguished information designer Edward Tufte to consult with the company, as well as utilized Swiss designers Josef Müller-Brockman and Karl Gerstner to help with graphic design across Europe. Additionally, following Noyes's death, Gerald McCue, Dean of Harvard University Graduate School of Design was appointed to be IBM's corporate consultant on architecture.
Yet another inaccuracy is the author's assertion that the iconic IBM Rebus design by Paul Rand (1981) "...was a violation of every rule he had established in the preceding years regarding the sanctity of IBM graphics" and implying Rand's innovative rebus concept was due to the IBM Design Program being "greatly weakened in Noyes's absence." The truth is that only IBM's legal department initially thought Rand's innovative rebus would somehow violate IBM's logo trademark protection. Rand and design management fought this perception and eventually prevailed, resulting in the IBM rebus becoming a classic icon in the annals of graphic design. IBM continues to use the rebus today to symbolize IBM as humanistic and innovative.
While this book provides a generalized insight into the IBM Design Program's scope and impact on modern design culture, its content contains numerous mistakes and the author's concluding supposition is based on inaccurate claims. Consequently, this book is not recommended as an accurate, scholarly account of IBM Design Program history. Instead, read: "Eliot Noyes" by Gordon Bruce, "Paul Rand" by Steven Heller and "Eames Design" by John Neuhart, Marilyn Neuhart and Ray Eames for a credible history of the seminal IBM Design Program.
6 of 8 people found the following review helpful.
amazing, useful book
By Kati
This book is completely useful and relevant, with one pithy observation after another about a highly commercial and unintellectual side of Modernism. I said "aha" at least a half a dozen times in the first chapter. This is a great read for anyone who stumped by industrial design: where it came from and why no one talks about most of it. Sheds light on why things are the way they are in a clear and engaging way.
2 of 3 people found the following review helpful.
Intense but Informative
By Devin S OBryan
Great historical writing. Harwood's retelling was quite a bit more academic than I was anticipating, but it very engaging as he weaves together a tapestry of design history and theory.
See all 4 customer reviews...
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