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One More Thing Inside Apple’s Insanely Great (or Just Insane) New Mothership Inside Apple’s Insanely Great (or Just Insane) New Mothership by Steven Levy photographs by Dan Winters 05.16.17 On June 7, 2011, a local businessman addressed a meeting of the Cupertino City Council. He had not been on the agenda, but his presence wasn’t a total surprise. Earlier in the year the man had expressed his intention to attend a meeting in order to propose a new series of buildings along the city’s northern border, but he hadn’t felt up to it at the time. He was, as all of them knew, in dire health. Before the start of the meeting, Kris Wang, a Cupertino council­member, looked out the window at the back of the room and saw him walking toward the building. He moved with obvious difficulty, wearing the same outfit he had been seen in the day before when he’d introduced new products to the world—which is to say, the same outfit that anyone had ever seen him wear.

When it was his turn to address the council, he walked to the podium. He began to speak, tentative at first before clicking into the conversational yet hypnotically compelling tone he used in keynotes. June 2017. His company, he said, had “grown like a weed.” His workforce had increased significantly over a decade, coming to fill more than 100 buildings as workers created one blockbuster product after another. To consolidate his employees, he wanted to create a new campus, a verdant landscape where the border between nature and building would be blurred.

Unlike other corporate campuses, which he found “pretty boring,” this would feature as its centerpiece a master structure, shaped like a circle, that would hold 12,000 employees. “It’s a pretty amazing building,” he told them. “It’s a little like a spaceship landed.” When Wang asked what benefit would come to Cupertino from this massive enterprise, the speaker had a slight edge to his voice as he explained, as if to a child, that it would enable the company to stay in the California township. Otherwise, it could sell off its current properties and take its people with it, maybe to someplace nearby, like Mountain View. That unpleasantness out of the way, the speaker was able to return to the subject of what he would create.

“I think we do have a shot,” he told the council, “of building the best office building in the world.” What he didn’t tell them—during what none of them could have known would be his last public appearance—is that he was not just planning a new campus for the company he cofounded, built, left, returned to, and ultimately saved from extinction. Through this new headquarters, was planning the future of itself—a future beyond him and, ultimately, beyond any of us.

On a crisp and clear March day, more than five years after Jobs’ death, I’m seated next to Jonathan Ive in the back of a Jeep Wrangler as we prepare to tour the nearly completed Apple Park, the name recently bestowed on the campus that Jobs pitched to the Cupertino City Council in 2011. At 50, Apple’s design chieftain still looks like the rugby player he once was, and he remains, despite fame, fortune, and a knighthood, the same soft-spoken Brit I met almost 20 years ago. We are both wearing white hard hats with a silver Apple logo above the brim; Ive’s is personalized with “Jony” underneath the iconic symbol. Dan Whisenhunt, the company’s head of facilities and a de facto manager of the project, comes with us. He too has a personalized hat.

It is an active construction site on a tight deadline—the first occupants are supposedly moving in within 30 days of my visit, with 500 new employees arriving every week thereafter—and I felt a bit like one of the passengers on the first ride into Jurassic Park. Related Stories. By David Pierce. By Jennifer M. Woodn.

By Sam Lubell We drive up North Tantau Avenue, past the buildings that will house employees not fortunate enough to sit in the campus’s main headquarters, as well as the half-finished visitor’s center. Only a few years ago, most of the space was a flat parking lot, but today huge berms—artificial hills—hug the road, blocking views of busy Wolfe Road and Interstate 280 and forming a rolling landscape with hundreds of trees, their roots half-buried in wooden boxes, ready for planting. We drive around campus and turn into the entrance of a tunnel that will take us to the Ring. Of course I’ve seen images of it, architectural equivalents of movie trailers for a much-awaited blockbuster. From the day Jobs presented to the Cupertino City Council, digital renderings of the Ring, as Apple calls the main building, have circulated widely. As construction progressed, enterprising drone pilots began flying their aircraft overhead, capturing aerial views in slickly edited YouTube videos accompanied by New Agey soundtracks.

Amid all the fanboy anticipation, though, Apple has also taken some knocks for the scale and scope of the thing. Investors urging Apple to kick back more of its bounty to shareholders have questioned whether the reported $5 billion in construction costs should have gone into their own pockets instead of a workplace striving for history. And the campus’s opening comes at a point when, despite stellar earnings results, Apple has not launched a breakout product since Jobs’ death. Apple executives want us to know how cool its new campus is—that’s why they invited me.

But this has also led some people to sniff that too much of its mojo has been devoted to giant glass panels, custom-built door handles, and a 100,000-square-foot fitness and wellness center complete with a two-story yoga room covered in stone, from just the right quarry in Kansas, that’s been carefully distressed, like a pair of jeans, to make it look like the stone at Jobs’ favorite hotel in Yosemite. Inside the 755-foot tunnel, the white tiles along the wall gleam like a recently installed high-end bathroom; it’s what the Lincoln Tunnel must have looked like the day it opened, before the first smudge of soot sullied its walls. And as we emerge into the light, the Ring comes into view. As the Jeep orbits it, the sun glistens off the building’s curved glass surface. The “canopies”—white fins that protrude from the glass at every floor—give it an exotic, retro-­future feel, evoking illustrations from science fiction pulp magazines of the 1950s.

Along the inner border of the Ring, there is a walkway where one can stroll the three-quarter-mile perimeter of the building unimpeded. It’s a statement of openness, of free movement, that one might not have associated with Apple. And that’s part of the point. A ring was not what Jobs had in mind when he first started talking about a new campus. Ive thinks it was around 2004 when he and his boss first began discussing a reimagined headquarters.

“I think it was in Hyde Park,” he says. “When we used to go to London together, we’d spend a lot of time in these parks. We began talking about a campus where your primary sense was that you were in parkland, with many elements that were almost collegiate—where the connection between what was built and a parkland was immediate, no matter where you were.” The discussions continued and widened throughout the company, but it wasn’t until 2009 that Apple was ready to actually move on the project. Though vacant land in Cupertino is rare, Apple had purchased 75 acres barely a mile from Infinite Loop, its current headquarters. The company began to seek out the right architectural firm to take on the task, and Jobs came to focus on Norman Foster, a Pritzker Prize winner whose commissions have included the Berlin Reichstag, the Hong Kong airport, and London’s infamous “Gherkin” tower.

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Jobs called Foster in July 2009 and told him, in Foster’s recollection, that Apple “needed some help.”. Norman Foster, one of Apple Park’s architects, had 250 people working on the project at its height.

Two months later Foster arrived in Cupertino and spent an entire day with Jobs, first at his office at Infinite Loop and later at his home in Palo Alto, and discovered that his new client had a remarkably detailed vision of the glass, steel, stone, and trees that would make up Apple’s new home. As Jobs spoke, Foster furiously sketched in the A4 sketchbook he is never without, creating a “word picture” of what Jobs was envisioning.

“His touchstone was the quad at Stanford,” Foster says, referring to the main part of the school’s campus where low-slung academic buildings, arranged around large, leafy outdoor areas and designed with open-air pathways where one can walk along the structures’ edges, offer the sensation of being both inside and out. Foster soon brought in reinforcements from his London-based firm, Foster + Partners, for the first of many meetings Jobs would have with a growing team of architects. Though he always professed to loathe nostalgia, Jobs based many of his ideas on his favorite features of the Bay Area of his youth. “His briefing was all about California—his idealized California,” says Stefan Behling, a Foster partner who became one of the project leads.

The site Apple had bought was an industrial park, largely covered by asphalt, but Jobs envisioned hilly terrain, with sluices of walking paths. He again turned to Stanford for inspiration by evoking the Dish, a popular hiking area near the campus where rolling hills shelter a radio telescope. “Steve’s original intention was to sort of blur that line between the inside and outside,” says Lisa Jackson, Apple’s environment czar. “It sort of wakes up your senses.” Jobs had always insisted that most of the site be covered with trees; he even took the step of finding the perfect tree expert to create his corporate Arden. He loved the foliage at the Dish and found one of the arborists responsible.

David Muffly, a cheerful, bearded fellow with a Lebowski-ish demeanor, was in a client’s backyard in Menlo Park when he got the call to come to Jobs’ office to talk trees. He was massively impressed with the Apple CEO’s taste and knowledge. “He had a better sense than most arborists,” Muffly says. “He could tell visually which trees looked like they had good structure.” Jobs was adamant that the new campus house indigenous flora, and in particular he wanted fruit trees from the orchards he remembered from growing up in Northern California. Apple will ultimately plant almost 9,000 trees.

Muffly was told that the landscape should be futureproof and that he should choose drought-tolerant varieties so his mini forest and meadows could survive a climate crisis. (As part of its ecological efforts to prevent such a crisis, Apple claims, its buildings will run solely on sustainable energy, most of it from solar arrays on the roofs.) Jobs’ aims were not just aesthetic. He did his best thinking during walks and was especially inspired by ambling in nature, so he envisioned how Apple workers would do that too. “Can you imagine doing your work in a national park?” says Tim Cook, who succeeded Jobs as CEO in 2011. “When I really need to think about something I’m struggling with, I get out in nature.

We can do that now! It won’t feel like Silicon Valley at all.” Cook recalls the last time he discussed the campus with his boss and friend in the fall of 2011.

“It was actually the last time I spoke to him, the Friday before he passed away,” Cook says. “We were watching a movie, Remember the Titans. I loved it, but I was so surprised he liked that movie.

I remember talking to him about the site then. It was something that gave him energy.

I was joking with him that we were all worried about some things being difficult, but we were missing the most important one, the biggest challenge of all.” Which was? “Deciding which employees are going to sit in the main building” and which would have to work in the outer buildings. “And he just got a big laugh out of it.”. Those post-Jobs details were largely crafted by Foster + Partners and Ive’s design team, who custom-developed almost every aspect of the building, down to the wash­basins and faucets.

For Ive, it was not the first time he’d imagined what an absent Jobs would’ve wanted. “There was a point in time when he was involved in the products and then a point in time when he wasn’t,” Ive says of the months leading up to Jobs’ death. “Sadly this was no different.” During my tour, when we pass through an aboveground parking garage, Ive quivers with enthusiasm as he describes what we’re seeing. He points out how smooth the edges are on the concrete beams and how carefully molded the curves are at the rectangular building’s corners, like perfectly formed round-rects on a dialog box. Further­more, infrastructure like water pipes and electrical conduits is hidden in the beams, so the whole thing doesn’t look like a basement. “It’s not that we’re using expensive concrete,” Ive says, defining what he calls the transformative nature of this parking garage.

“It’s the care and development of a design idea and then being resolute—no, we’re not going to just do the easy, least-path-of-resistance sort of standardized form work.” Inside the Ring, Ive lingers on another feature that draws special pride: the staircases. They’re made of a thin, lightweight concrete that achieves the perfect white, and they have unusual banisters that seem carved out from the wall alongside the stairs. “You can create a handrail by screwing on a railing system that is essentially an afterthought,” he says, with unfettered contempt at those who would. “But you actually solve it fundamentally with design.” Later I learn that the stairwells also qualify as fire stairs; normally these require heavy doors that reduce the spread of fire. But Jobs, inspired by the way fire stairs work on yachts, had suggested that, in cases of flagration, glass encasing the stairwells should be drenched by high-­pressure sprinkler heads producing a dense mist, a proposal that apparently satisfied the Santa Clara County Fire Department. To Jobs, “trees were the most beautiful bits of art,” says architect Stefan Behling.

“He used to say, ‘The most amazing thing about trees is it doesn’t actually matter how rich you are: You can never buy a really old, beautiful tree.’” When we examine one of the nearly completed pods, I see what a typical programmer’s office will be. It starts with the door handle, designed by Apple and Foster + Partners, who wanted the same handle to be used for sliding doors and pivoting ones and went through multiple iterations. Later I get a look at some of the early prototypes, feeling like I’m checking the fossil record of some high tech version of the Burgess Shale. Some are long and barely protruding; others are tighter and less forgiving about how you grip them. All seem to be tooled from the same aluminum as a MacBook Pro. And, of course, the final version is designed to be integrated into the doorframe—heaven forbid you would bolt something on in Apple’s headquarters. The panels on the office walls look a lot like what Jobs described during the architects’ “holy shit” moment when the project started, but they did not come from trees cut in January.

For environmental reasons, Apple created a custom timber veneer from recycled wood. The desk itself is height-­adjustable and went through multiple versions, mostly involving different configurations of the brackets that fix it to the wall: These contain the fiber for connectivity as well as electrical wires. (It would be a crime to see them dangling.) To bring the desk up or down, there are two buttons underneath. Users can tell them apart by feel: The convex one raises the table, the concave lowers it.

“Jobs had a better sense than most arborists,” says David Muffly, whom the Apple chief tapped to handle the trees for the new campus. “He could tell visually which trees looked like they had good structure.” Jobs hated air-conditioning and especially loathed fans. (He vigilantly tried to keep them out of his computers.) But he also didn’t want people opening windows, so he insisted on natural ventilation, a building that breathes just like the people who work inside it. “The flaps and the opening mechanism,” Behling explains, “all have to relate to sensors that measure where the wind is coming from and how the air goes through it.” Unlike sealed buildings in which the temperature is rigidly controlled, the Ring circulates outside air.

The concrete in the floor and ceiling is embedded with tubes of water and is supposed to lock in a temperature between 68 and 77 degrees, so that the heating or cooling system will kick in only on very hot or cold days. (In theory some workers can use thermostats to adjust the temperature in a given pod, but only by a couple of degrees.) When I later discuss the office climate with Apple’s environment czar, Lisa Jackson, she professes understanding—to a point. “It’s not like we’re asking people to be uncomfortable at work,” she says. “We’re asking them to recognize that part of being connected to the outside is knowing what temperature it is. We don’t want you to feel like you’re in a casino. We want you to know what time of day it is, what temperature it is outside.

Is the wind really blowing? That was Steve’s original intention, to sort of blur that line between the inside and outside. It sort of wakes up your senses.”. The stone for the exterior of the Fitness & Wellness Center was sourced from a quarry in Kansas and then distressed, like a pair of jeans, to make it look like the stone at Jobs’ favorite hotel in Yosemite. Apple Park may be an architectural tour de force, but Foster has grasped its essential truth: At heart it is the realization of a dying man’s wish to eternally shape the workplace of the company he founded. Yes, Apple insists that by working in a place where artificial hills are dotted with pines transplanted from Christmas tree farms in the Mojave Desert, its employees will make better products.

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But didn’t Apple create its marvelous Apple II in a bedroom and its ground­breaking Macintosh in a low-slung office park building? The employees who work at the new campus are leaving behind the buildings that provided sufficient inspiration to invent the.

It’s probably more accurate to say that Apple Park is the architectural avatar of the man who envisioned it, the same man who pushed employees to produce those signature products. In the absence of his rigor and clarity, he left behind a headquarters that embodies both his autobiography and his values. The phrase that keeps coming up in talks with key Apple figures is “Steve’s gift.” Behind that concept is the idea that in the last months of his life, Jobs expended significant energy to create a workplace that would benefit Apple’s workers for perhaps the next century. “This was a hundred-year decision,” Cook says.

“And Steve spent the last couple of years of his life pouring himself in here at times when he clearly felt very poorly. More on Steve Jobs. By Gary Wolf. By Leander Kahney. By FRED VOGELSTEIN “Could we have cut a corner here or there?” Cook asks rhetorically.

“It wouldn’t have been Apple. And it wouldn’t have sent the message to everybody working here every day that detail matters, that care matters.” That was what Jobs wanted—what he always wanted. And the current leaders of Apple are determined not to disappoint him in what is arguably his biggest, and is certainly his last, product launch. “I revere him,” Cook says. “And this was clearly his vision, his concept.

Our biggest project ever.” Last December, Cook, Ive, and Apple PR head Steve Dowling met with Laurene Powell Jobs, Steve’s widow. At the time, the campus didn’t have a name. One option was to brand the entire site after the company’s late CEO, but that didn’t feel right.

A more intimate honor would come from lending his name to the 1,000-seat theater in the southeast corner of the campus. Not only had Jobs thought hard about what the theater should look like, but it will also be the stage for product launches like those he had so famously made his own. “It’s on a hill, at one of the highest points on this land,” Cook says.

“It felt like him.” And so his name will be on the theater. But anyone searching for Steve Jobs’ finger­prints on Apple Park will find them elsewhere—in the glint off the Ring’s curves, in the sway of the trees, and in the thousands of other details we can and cannot see. Steven levy wrote about Apple’s early for issue 22.09. He is the editor of. This article appears in the June issue. Grooming by raina antle (Ive, Cook); Brynn Doering/Aubry Balk (Foster).

Developers and enthusiasts alike will soon be able to explore, which is great news for everyone. If you're new to what options are available with VR, or you're curious what the differences will be between VR on a Mac and VR elsewhere, this FAQ will walk you through the basics. Why didn't VR work on the Mac before? What changed?

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Virtual Reality is a combination of multiple technologies, but the big thing which pulls them all together is the VR headset. There are several available to purchase today, but in order to provide a quality visual experience inside the headset, there are certain hardware and software requirements which must be met.

The two biggest requirements, a high-end graphics card and support from particular gaming engines, had not previously been met by Apple. At WWDC, Apple announced support for eGPU enclosures, so bigger graphics cards can be added to MacBooks without compromising the historically quiet experience from these computers. In addition, the first iMac Pro to be released later this year will have internal hardware capable of supporting VR headsets with no additional hardware. Apple has also announced support from Unity, Unreal Engine, and SteamVR. These three critical software components ensure a significant majority of VR apps and games currently enjoyed elsewhere will be supported on the Mac. What is an eGPU enclosure?

For this purpose, it's a box designed to sit alongside your computer and hold large desktop-class graphics cards. This enclosure is connected to your Mac over Thunderbolt 3 and allows your Mac to use that graphics card as though it were installed in your computer.

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With support from this more capable graphics card, your Mac will have enough graphics power to drive a VR headset. Currently, Apple is offering a with an enclosure made by Sonnet and an AMD Radeon RX 580 graphics card, but when macOS High Sierra is available this fall, there will be multiple graphics cards and enclosures for consumers to choose between for this setup. What else does my Mac need to handle VR? There are currently no minimum system requirements available specifically for the Mac, but HTC lists this as the minimum system requirements for Windows PCs. Processor: Intel Core i5-4590 or AMD FX 8350. Graphics card: NVIDIA GTX 970 or AMD Radeon R9 290. RAM: 4GB Apple started using the Intel Core i5-4590 in the iMac starting with the 27-inch 5K model released in Mid 2015 and the MacBook Pro started using this model or greater in the Early 2015 models.

This means if you have something newer than a Mid-2015 iMac or MacBook, you have the processor needed to run VR applications. As long as you also have 4GB of RAM, you will meet the minimum requirements when you add an eGPU enclosure with your graphics card of choice. Which VR headsets are supported?

The only VR headset on display and in demos at WWDC right now is the HTC Vive. This headset is powered by the SteamVR platform, which was announced as part of the VR for Mac support package and offers the most complete VR experience for users at the moment.

That having been said, SteamVR supports multiple VR headsets, so it's likely we will see additional headsets supported before the Fall. How do I get started? Developers can head to for information on how to get started with VR for the Mac and Metal 2., Unreal Engine will be available in preview form starting in September and officially released for High Sierra in October. If you are not a developer, the best thing for you to do right now is wait for the official release of macOS High Sierra. If you want to get ready for VR in your home or office, check out the from our friends at VR Heads to get yourself fully prepared for VR on your Mac!

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