A Bauhaus AestheticUnlike most kids who grew up in Eichler homes

A Bauhaus AestheticUnlike 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.”

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