Ive works in a design studio in a building on one corner of Apple’s campus at 1 Infinite Loop in Cupertino, the firm’s address. It looks like all the other dull, un-Apple-like glass and beige — yes, beige — concrete blocks. With one really big difference. The glass is opaque and no-one other than Ive, his core team and top Apple executives is allowed in. “The reason is, it’s the one place you can go and see everything we’re working on — all the designs, all the prototypes,” Ive says.

His team, from Britain, America, Japan, Australia and New Zealand, “is really much smaller than you’d think — about 15. Most of us have worked together for 15 to 20 years.” That’s useful. “We can be bitterly critical of our work. The personal issues of ego have long since faded.” The large open-plan studio is, like most of Ive’s personal Apple products, all-white. A large wooden bench, like the Genius Bars in Apple Stores, is devoted to new products. At one end are a lot of CNCS — high-tech machines that are used to make prototypes. “Everyone I work with shares the same love of and respect for making,” he says.

Ive starts a project by imagining what a new kind of product should be and what it should do. Only once he’s answered those questions does he work out what it should look like. He seeks advice in unlikely places. He worked with confectionery manufacturers to perfect the translucent jelly-bean shades of his first big hit, the original iMac. He travelled to Niigata in northern Japan to see how metalworkers there beat metal thin, to help him create the titanium Powerbook, the first lightweight aluminum laptop in a world of hefty black plastic slabs.

Read the full interview in TIME here.