Apple's New Calling: The iPhone

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Then Jonathan Ive, Apple's head of design, the man who shaped the iMac and the iPod, squashed the case to less than half an inch thick, and widened it to what looks like a bar of expensive chocolate wrapped in aluminum and stainless steel. The iPhone is a typical piece of Ive design: an austere, abstract, platonic-looking form that somehow also manages to feel warm and organic and ergonomic. Unlike my phone. He picks it up and points out four little nubbins on the back. "Your phone's got feet on," he says, not unkindly. "Why would anybody put feet on a phone?" Ive has the answer, of course: "It raises the speaker on the back off the table. But the right solution is to put the speaker in the right place in the first place. That's why our speaker isn't on the bottom, so you can have it on the table, and you don't need feet." Sure enough, no feet toe the iPhone's smooth lines.

All right, so it's pretty. Now pick it up and make a call. A big friendly icon appears on that huge screen. Say a second call comes in while you're talking. Another icon appears. Tap that second icon and you switch to the second call. Tap the big "merge calls" icon and you've got a three-way conference call. Pleasantly simple.

Another example: voicemail. Until now you've had to grope through your v-mail by ear, blindly, like an eyeless cave-creature. On the iPhone you see all your messages laid out visually, onscreen, labeled by caller. If you want to hear one, you touch it. Done. Now try a text message: Instead of jumbling them all together in your in-box, iPhone arranges your texts by recipient, as threaded conversations made of little jewel-like bubbles. And instead of "typing" on a four-by-four number keypad, you get a full, usable QWERTY keyboard. You will never again have to hit the 7 key four times to type a letter S.

Now forget about phone calls. Look at the video, which is impressively crisp and plays on a screen larger than the video iPod's. This is the first time the hype about "rich media" on a phone has actually looked plausible. Look at the e-mail client, which handles attachments, in-line images, HTML e-mails as adroitly as a desktop client. Look at the Web browser, a modified version of Safari that displays actual Web pages, not a teensy crunched-down version of the Web. There's a Google map application that's almost worth the price of admission on its own.

Weaknesses? Absolutely. You can't download songs directly onto it from the iTunes store, you have to export them from a computer. And even though it's got WiFi and Bluetooth on it, you can't sync iPhone with a computer wirelessly. And there should be games on it. And you're required to use it as a phone—you can't use it without signing up for cellular service. Boo.

The iPhone breaks two basic axioms of consumer technology. One, when you take an application and put it on a phone, that application must be reduced to a crippled and annoying version of itself. Two, when you take two devices—such as an iPod and a phone—and squish them into one, both devices must necessarily become lamer versions of themselves. The iPhone is a phone, an iPod, and a mini-Internet computer all at once, and contrary to Newton—who knew a thing or two about apples—they all occupy the same space at the same time, but without taking a hit in performance. In a way iPhone is the wrong name for it. It's a handheld computing platform that just happens to contain a phone.

Why is Apple able to do things most other companies can't? Partly by charging for it: The iPhone will cost $499 for a 4GB model, $599 for 8GB, which makes it expensive, but not a luxury item. And partly because the company has highly diverse talent who are good at hardware, software, industrial design and Internet services. Most companies just do one or two things well.

Unlike most competitors, Apple also places an inordinate emphasis on interface design. It sweats the cosmetic details that don't seem very important until you really sweat them. "I actually have a photographer's loupe that I use to look to make sure every pixel is right," says Scott Forstall, Apple's vice-president of Platform Experience (whatever that is). "We will argue over literally a single pixel." As a result, when you swipe your finger across the screen to unlock the iPhone, you're not just accessing a system of nested menus, you're entering a tiny universe, where data exist as bouncy, gemlike, animated objects that behave according to consistent rules of virtual physics. Because there's no intermediary input device—like a mouse or a keyboard—there's a powerful illusion that you're physically handling data with your fingers. You can pinch an image with two fingers and make it smaller.

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