Skunk Works had developed a unique culture—one that motivated employees to develop remarkably creative products. The employees worked on projects that were personally interesting to them and they had a clear design goal. Major technical decisions were quickly provided by [management] as required, to maintain the flow of development. Lockheed management would rarely challenge these decisions and designers did not worry about backtracking or nefarious political consequences.
The
designers worked in an environment where paper work was shunned, sketches were
preferred over time-consuming, detailed drawings, and small groups eliminated
major communication problems. They were isolated from the Lockheed parent
company’s bureaucracy, and worked with the esprit de corps of an organization
entrusted with vital government needs. The designers were generalists who were
selected because they had a wide range of experiences within technology. Skunk
Works managers tried to avoid people who viewed all problems through their own
field of specialization.
Kelly Johnson
defined the organization that he created as “a concentration of a few good
people solving problems far in advance—and at a fraction of the cost—of other
groups in the aircraft industry by applying the simplest, most straightforward
methods possible to develop and produce new projects. All it is really is the
application of common sense to some pretty tough problems” (Johnson 171). Gary
Ervin, a vice president of Skunk Works, corroborated the concept of a critical
mass of suitably talented people. Ervin claimed that the Skunk Works’ creative
and productive environment resulted from small groups of scientists and
engineers who were selected based on their propensity to be “free thinkers,
creative, and don’t let conventional boundaries get in their way” (Sawyer 2). A
critical mass of talent can be a powerful force, as is demonstrated by such
collections of talent ranging from the artists in Paris during the 1860s to the
engineers in Silicon Valley during the 1970s.
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