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Sent every Thursday and featuring a selection of the best reader comments and most talked-about stories. This 1980 shaver featured 500 rubber stubs covering an aluminium surface. It was the first use of anti-slip "hard and soft technology" by which hard and soft materials are fused. Up until the SM 31 was launched in 1962, shavers were typically chrome and cream and had a "medical feel" about them. With a brushed matte surface which was initially produced by hand, the SM 31 had a more masculine appearance. The SK 4 demonstrated that taking a functional approach didn't have to result in a cold design and could instead be human-focused.
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It conserves resources and minimises physical and visual pollution throughout the lifecycle of the product. It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it lasts many years - even in today’s throwaway society. With that simple application of pressure - click - you get what you want.
Braun Series 9 Pro Electric Shaver
Rams even devised a system of colour coding for Braun’s products, which were made in white and grey. Hired as an architect for redesigning Braun’s office Dieter Rams became one of the leading designers, who developed Braun’s memorable design language and defined the 10 principles of good design, a design manual that is still relevant today. They totally transformed our existing space from a tired, traditional motif to a one with current design cues and details, while improving the overall function of the area at the same time. Their efforts resulted in a beautiful, elegant, sophisticated design that is, and will continue to be, enjoyed by our community for many years to come. I was struggling to update the look in my house from a traditional style to a more contemporary look.
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In 2009, Rams said, “Today you find only a few companies that take design seriously, as I see it, and, at the moment that is an American company. In addition to endless gadget porn, the book also aims to correct a few things about Braun design for the historical record — namely, that Rams had help. Although Rams’ identity is so intertwined with the company that he’s been mistakenly (or jokingly) called Mr. Braun at times, he’s the first person to remind people that executing the company’s design strategy was always a team effort. Designed to Keep attempts to set the record straight by giving credit where credit is due. These days many people are familiar with Rams’ design maxims – ‘good design makes a product useful’, ‘good design is long-lasting’ and ‘less is more’ – but for a time the wacky post-modernism of Philippe Starck and Alessi had rendered those rules unfashionable.
Dieter Rams
Coming up with an innovative idea is one thing; turning it into technology that meets users’ expectations worldwide is quite another. But this is exactly the kind of challenge that our scientists and engineers love. What follows is an attempt to identify all the possible (and sometimes impossible) technical approaches to overcome this challenge.In many cases a prototype is put together in the lab to find out if a technical idea lives up to its promises. In this way, Braun experts methodically zero in on the best technical approach for a new product. Once this has been identified, we make sure that the device can be manufactured on a larger scale without compromising quality.
Less and More exhibition
In that vein, we've picked out five Braun products that continue to provide inspiration for the future of design with their unrivaled timelessness. Whether it's the Braun TP 1 from 1959 or the 2021-reissue of the Braun LE01 speakers, the brand proves time and time again that it has the momentum to be an icon well into the future. The modular system is comprised of a pocket radio and battery-operated record player linked by a short cable and held in an anodised aluminium case.
The Braun SM 31 was designed by Gerd Alfred Müller and Hans Gugelot. Inspired by and named after the sextant, a nautical instrument, the Sixtant SM 31 was also based on the hexagonal holes of shaving foil. But, for the first time ever, rather than these holes being punched into the foil, the foil was produced with a special electroforming process. All of the button controls were set at the back of the clock and each button was designed to have a distinctive shape so that they could be used without looking.
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Abandoning the traditional wooden cabinet, they devised an unapologetically industrial metal case for the SK4 with two pale wooden sides. The operating panel was positioned on the top next to the turntable, rather than hidden away at the side. Originally the cover was to have been made of metal, but it vibrated too much in tests and was replaced, upon Rams suggestion, with transparent plastic which exposed the mechanics of the record player. Critics who had nicknamed the SK4 ‘ Snow White’s coffin’ thought people would be repulsed by the sight of electrical apparatus, but instead consumers considered it chic. Transparent lids became an industry standard and Rams became a name to watch. For nearly 30 years Dieter Rams served as head of design for Braun A.G.
Rams covered the whole front of the speakers with super-light membranes as a visual allusion to the clarity of the LE1’s sound while presenting it as a proud symbol of engineering innovation. We chose Brown almost a year ago based upon their sterling reputation. The challenge for Brown was to help us design, renovate, and decorate our newly purchased home in Boca Raton. Looking back on our experience, what stands out in our minds was their ability to listen and then translate that into a vision that captured the true meaning of our dream home. We are constantly amazed when we look around our home at the transformation that our talented designer helped us create. Discover how to reach new heights of success through a smartly designed space that enhances the experience of your brand.
The design was well-received by the market and smashed existing sales records, selling over 8 million units worldwide. When the SK 4 was launched in 1956, it disrupted the conventional approach to audio design in which devices were hidden in baroque cabinets. Introduced in 1959, the TP 1 by Dieter Rams was a ground-breaking portable transistorised radio-record player that long preceded the Walkman of the 1980s.
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Also during the 1960s, Braun created the Rams-designed T3 pocket radio. By this time, Braun's film slide projectors were featuring high-quality optics and all-metal construction combined with sleek functionalist styling, and competed with higher-end Eastman Kodak and Leitz products in the global market. Braun also started distributing in Germany high-end medium-format SLR system cameras produced by Japanese camera manufacturer Zenza Bronica, as well as Braun-Nizo brand cameras and Super 8 film cameras (formerly of Niezoldi & Krämer GmbH; purchased by Braun in 1962). In 1967, the Boston, Massachusetts-based conglomerate Gillette Group acquired a majority share of the company.
There are many products that helped to build Braun’s audio reputation but few did more for the brand than the Braun T 1000. Housed in a small oblong case, the T 1000 could scan all available broadcasting frequencies. What might sound insignificant nowadays was ground-breaking in 1963. T 1000-designer Dieter Rams and Braun believed that well-designed products could promote democracy — a concept evidenced in abundance by the small, powerful T 1000. As Germany was still emerging from the remnants of WWII, the bandwidth and mobility of the T 1000 offered access to the world. Finished with a transistor radio positioned at the top of the product, the TP 1 broke ground for portable audio equipment, paving the way for designs that were some 50 years from inception.
Also, in the early 1980s, Braun sold its photographic and slide projector division to Robert Bosch GmbH. Developing a Coherent Design VisionRams refined the design language he and Gugelot had adopted for the SK4 in the following year’s Atelier 1 hi-fi system and L1 loud speakers. Until then stereo systems had consisted of single units with integrated speakers, but Rams separated the speakers to make the receiver unit more compact. Subsequent developments in stereophonic technology ensured that this too soon became a standard. Determined to develop a coherent ‘family’ of products for Braun, Rams designed the Atelier 1 and L1 in the same proportions as the SK4. Consequently they could be used together with the L1 being added to the SK4 to amplify its sound.
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