![]() Indeed, in recent years, companies have employed the principles of so-called “design thinking,”-including observation of how humans interact with new things, rapid prototyping and collaboration across multidisciplinary teams-to create everything from consumer services to business strategy. Design is now seen as essential for organizations to express their brands and their values-from Apple’s iPhone, to Starbucks’ in-store experience, to Disney’s entertainment venues. IBM’s philosophy of design has influenced many other enterprises and institutions in the decades since Noyes. It’s about substance.” Or, as Charles Eames put it, “Design is a plan for arranging elements in such a way as best to accomplish a particular purpose.” By that definition, IBM’s researchers could be seen as designers, and its designers have been researchers and teachers. “They taught that if you don’t understand something, you can’t design it,” says Lee Green, the vice president in charge of IBM’s Brand Experience and Strategic Design. They dedicated themselves to making things better, not just different. As designers, Charles and Ray Eames were problem solvers. Mathematica, to dozens of educational films for school and television that helped teach generations about science, math and technology. But for IBM, the couple designed everything from the exhibit at the 1964 World’s Fair, to the film They were best known at the time for their molded-plastic and plywood chairs. The husband and wife team of Charles and Ray Eames had an especially strong influence on IBM’s thinking. Rand’s series of IBM logos culminated in a 1972 version formed from stacked stripes, suggesting speed and dynamism, which made the company’s initials instantly recognizable worldwide. Watson Research Center in Yorktown Heights, New York, a long curve of glass and stone that gives researchers inspiring views of the countryside even while encouraging them to interact with one another. Saarinen designed the company’s Thomas J. ® Selectric typewriter and the Management Development Center in Armonk, New York. Noyes produced designs himself, including that of the iconic IBM IBM became the company to beat, the paradigm of the modern corporation.” “He oversaw the modernization of all aspects of the brand. “The impact Noyes had was incredible,” says Steven Heller, author and longtime design director at the Noyes described his own role as a “curator of corporate character.” He explained: “It does seem to be a part of the role of the designer to help identify this character, and then express it in terms of the most meaningful goals and the highest ideas of the company and in the broadest context of our society and economy.” But all were grounded in an underlying design philosophy. ![]() Noyes brought in a wide variety of artists, designers and architects-some of the greatest creative talents of the day, including Charles and Ray Eames, Eero Saarinen, Paul Rand and Isamu Noguchi-and they created an equally broad range of creative expressions. “In a sense, a corporation should be like a good painting everything visible should contribute to the correct total statement nothing visible should detract,” Noyes wrote.Īlso, this would not just be any kind of painting, but something specific and immediately recognizable, yet never uniform or static. It marked perhaps the first time in which a business organization itself-its management, operations and culture, as well as its products and marketing-was conceived of as an intentionally created product of the imagination, as a work of art. ![]() ![]() The goal was much more than consistency of look and feel. Noyes’s goal was to create a first-of-a-kind corporate design program that would encompass everything from IBM’s products, to its buildings, logos and marketing materials. hired as the company’s design consultant Eliot Noyes, a well-respected architect and former curator of industrial design at New York’s Museum of Modern Art.
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