Hartmut Jatzke-Wigand
Dieter Rams: "I am still sticking to my design ..."
In August 1995 Prof. Dr. h.c. Dieter Rams looks upon 40 years of work for Braun. Within his comprehensive creative achievements Dieter Rams took a decisive part in advancing Braun design from the beginning of a revolutionary product culture to a universally valuable system. We had a lang talk with Dieter Rams about what in his views are the most important designs and design attitudes (fig. 1).
Hartmut Jatzke-Wigand:
Mister Rams, in October you will be celebrating your 40th anniversary - 40 years work for Braun ...
Dieter Rams:
... do not like to call it an anniversary - of course, all the colleagues who worked with me during these 40 years will partake in the celebrations. I was merely the one who inspired impulses, who took over responsibility and who tried to make our ideas work one way or the other.
H. J.-W.:
One way or the other? I think you've achieved a lot. What interests us most is to hear which products within the long time of your design work you are most proud of, which do you think are still of value today?
D. R.:
Of course, every designer is most proud of his first product. In my case this was the SK 4 (fig. 2) which I designed together with Hans Gugelot. Hans Gugelot intended to u-shape the metal lid just like the bottom part of the housing, to extend the design of the lower part formally towards the lid. Our technicians protested, since there were feedback problems, and on top of that the lid made shattering noises. Another thing was that in 1956 our technicians were not at all pleased with the solution. They simply could not, although being brilliant technicians, imagine how such a device would look in their own environment. Hans Gugelot said, okay, let's forget about the lid ...
H. J.-W.:
... as in 1957 when he consequently did the same with the studio 1 combination.
D. R.:
Yes. But responsible people at Braun thought a record player ought to have a cover. That was when I had the idea to develop a plexiglass lid (fig. 3). Hans Gugelot at first thought that trendy. In the end, however, he said, okay, it is not so bad after all. In the end Braun produced the SK 4 with plexi-glass lid. This solution proved influencial - there was hardly any record player without glass lid afterwards. lt was the beginning of a worldwide standardisation - I think I am little proud of that.
H. J.-W.:
Why did Gugelot use two wooden frames for the SK 4. Were they meant to improve the acoustic properties?
D. R.:
No, it was a feature which was to facilitate the buyer's reorientation from furniture design towards a more technical design. The Braun range included the furniture design by the Thun workshops or equipment designed by Herbert Hirche. Please, do not get me wrong about Herbert Hirche, his equipment was clearly and well structured - but I rather prefer technological design. To my mind audiovisual devices must be understood as technical appliances - their formal shaping must reflect this philosophy. To realize this basic understanding was the actual achievement of our design department - of course supported by people from Ulm.
H. J.-W.:
I would like a chronological approach. Apart from the SK 4 I consider the development of the T 4 and T 4 1 series as well as with the P 1 exceptional, since primarily you introduced your idea of multifunctional use (fig . 4).
D. R.:
That's right. In 1958, the newly developed transistor technologies allowed us to minimize our products. In close cooperation with our technicians, we tried to reduce the measurements of our transistor devices in order to create a modern design at the same time.
H. J.-W.:
Why were there different design solutions for the T 3, T 4 and T 41 scales (fig. 5 and 6)?
D. R.: The pocket receivers that you've just mentioned were introduced one after the other, therefore they must be seen as a series of developments. My first reflections were: what is the purpose of such an amount of frequencies? lt is just a means to tune in to your favourite station. However, our technicians pointed out that there were two frequency segments. Thus Hans Gugelot decided to arrange the frequencies on a circular scale, each with a different colour. The user could hardly find his favourite station on the scale. When working on my concept for the T 41 I came back to my original idea, using the small window for the scale.
H. J.-W.:
I think you have been specially challanged in the designing of the transistor receiver. The graphic design of the frequencies on a well-readable scale must have been difficult to create.
D. R. :
Yes, that was our main problem. The T 41 had three frequency segments - by the way, this was an impressive achievement of our technicians to develop such a small device with such good reception qualities. I decided to pick up the round-shaped loudspeaker perforations and continue this design in the designing of the scale, only using a larger spacing - thereby improving the readability of the scale. In my opinion this set is very successful, it appears formally full of tension.
H . J.-W.:
What fascinates me in these products was that at the same time they were elements of a small device series. At that early stage they could be used for a multitude of purposes.
D. R.:
... that's why our devices are still around today! I designed matching loudspeakers, a clock and the P 1 record player that could be connected to the transistor receiver (fig. 7 and 8). On the record player 17 cm records could be locked. Together with a special fastener the TP 1 combination could be carried around during operation, thus making it the predecessor of the walkman. However, software was missing. For a time 45 cm records could also be used - yet there were no CDs or cassettes which of course would have been ideal for this product line.
H . J.-W. :
What amazes me is that the TP 1 combination was produced in 1959. The idea was so avangardistic that an economic success must have been doubtful.
D. R.:
Production was only possible because Erwin Braun took all responsibility. Economically speaking, these - and especially the audiovisual-models were never a great success. Shavers, household utensils and flashes - these were gently increasing lines of the Braun AG. As early as 1955 the question rose whether to cross radio sets from the production list or whether to take another line of action regarding the design. Supported by Fritz Eichler and Hans Gugelot Erwin Braun decided to produce audiovisual sets for people who took interest in companies like Knoll, Miller or WK. We wanted systems that modern people wouldn't want to hide. In the end, Braun went on producing audio-visual sets of modern design, which, however, were not very successful. Their effect was perhaps comparable to a good advertisement compaign. The decision made in 1955 never lost its validity for the continuing economic success for Braun.
H. J.-W.:
During the last talk we had together you talked about the quality of the T 1000 world receiver. Was the
T 1000 an econimic success (fig. 9)?
D.R.:
No, it was not, although we sold almost 25.000 pieces. You know, as a designer you only feel really happy when you are designing such objects as for instance electric toothbrushes. Objects that constantly prove useful to a lot of people .
H. J.-W.:
For me, this criterium is quite understandable. In my case the T 1000 must be considered the entry to the world of design. In 1965, a radio technology trainee is sitting in front of a model with a hitherto unequalled capacity and impressive details as for instance the elegant wave length switch ...
D. R. :
... this was one of the most difficult design tasks. You could say that I am proud of this design detail. The switch was supposed to almost lock the drum tuner, at the same time it had to be foldable (fig . 10). Only after many design studies I was able to find a workable solution (fig. 11 ). I am still using the T 1000, it was a large image success for Braun AG.
H. J .-W.:
What I find important is that you tried to reach the important goal in design, namely a product being
self-explanatory.
D. R.:
lt was important for me that the products which I designed were always as self-explanatory as possible. As for instance the red symbol on the tuner switch, the red FM key and the matching red scale lettering for FM on the T 1000. The function is thus explained visually. Even today it still presents a great problem to design a model in which the user understands the various operating modes. This is a great challenge for a designer. There are quite a few companies world-wide - e.g. Siemens, Nokia, Sony or Philips - who are actually in possession of the technical know-how and the potential to produce their developments and not only cast a superficial design layer onto their models. lf I had to develop the concept for a hifi system the model itself would have to inform me which knobs to turn to get the right function .
H . J.-W. :
In my opinion you have indirectly fulfilled this aim with the T 1000 since the protection cover bears operating instructions on the inside (fig. 12).
D. R.:
In actual fact this was the right approach. However, in the design of an object there will always be something which remains difficult to solve. In today's rapidly changing product generations more and more problems come up. lt is also a fact which I would like to telI my design students. You know, teaching and the training of young designers is very important to me. Nowadays, more than ever we must ask ourselves what we really need, how the objects should look and how they can be used. Currently, designers have too few ideas - but these would be essentially important the challenge of future design .
H. J.-W.:
What is your opinion on the current discussion about the relation between design and ecology.
D. R. :
I think this discussion is vital. Design must mean more than merely giving a product an outward appearance. With objects designed by us we must create a new cultural awareness and thus contribute towards the forming of tastes. I would like a world of objects which are clear, simple and unobtrusive; objects which we really need. This means for the designer selection of material, which takes into account the method of production and the question of recylcing. We must clearly define our relationship to the objects that surround us .
H. J .-W.:
Thank you for this answer. I would like to come back to our initial question, which designs are you proud of, which are still important to you.
D. R.:
Today smoking is no longer 'in'. My table lighter T 2, l'm still using it (fig. 13). I think it can hardly be improved. Alessi wanted to stark reproducing it - but this lighter is too complicated to assemble for today's production technology.
H. J.-W.:
What was the development process in the case of the lighter?
D. R.:
From 1965 onwards, Braun concentrated intensively on the design and technology of lighters. First came the magnetic ignition, later the piezo ignition began taking over which had been developed in Japan was taking over. I wanted an object that was pleasant to touch.
H . J.-W.:
For me, this lighter for me presents a symbiosis of technology and form .
D. R.:
Undoubtedly a good design. The production of the T 2 was very difficult, for instance opening process and shutting required a complicated mechanism. Economically, lighters were no great market success - that's why Braun stopped their production during the 1980s.
H. J.-W.:
You developed various models of the T 2.
D. R.:
Yes, one chromium, one black with a plastic housing and a few models in silver.
H. J.-W.:
I think particularly influencial is your energetic lighter with the built-in solar cell (fig. 14). How did you hit upon that idea?
D. R.:
lt was based on reflections that were made during our experiences in the oil crisis. We wanted to utilize other forms of energy production - that's why we thought solar cells was the answer. However, solar cells at that time were technologically speaking not quite up to today's standard (in their initial phase) and besides that, it was too expensive for mass production. We developed a few prototypes which were not marketed. By the way: I was merely making the first step for the use of solar cells. I did not develop the lighter by myself, but together with our technicians and members of my team of the department of design. Nowadays, a designer can hardly work entirely by himself. One must additionally be in a position to convince others. lt was, I think, my achievement - over the years - to convince and thereby made things happen. Therefore, I am very happy to have worked for Braun since 1955. This close connection with such a company is essential to bring about decisive changes. Naturally, also to be aware of which kind of know-how and what production possibilities a company has been passing on.
H. J.-W.:
The table lighter energetic is a sought-after collection item like the wall system with the TS 45, TG 60 and L 450 loudspeakers which you decribed as significant during the first part of our interview (fig. 15). For you - what is the most important feature in this wall system?
D. R.:
The moduls audio 1, TS 40/45, the PS 400 record player and various loudspeakers form part of a variable system which we developed from 1961 onwards. We used the transistor technology consequently. Particular emphasis was laid on the various combination possibilites of the different moduls of the variable unit. The design of these products is very clear, it was my intention to develop models in which the design was related to the technology and operation. The moduls were rarely assembled as a wall-mounted model. lt was only bought by individualists; people who really understood the idea of its design. The ystem appears as a particularly aesthetic wall sculpture when cables and antennae are hidden from view. This requires some planning. Retail shops had trouble selling the system - the installation was too expensive. On the other hand - the wall system is still on the wall in my home, it works perfectly, the acoustics are acceptable. To come back to your initial question: I am proud of the design, regarding the market success - I am by no means proud, it was a failure.
H. J.-W.:
You often speak about the market success of these audiovisual models. Where were the problems?
D.R.: We should have intensified the contact to the user. Establishment of hifi products on the market failed. We should have operated worldwide with suitable advertisement and service. For this Braun did not have the potential. Therefore, Gillette's decision to give up this line of business was - from an economical point of view - the right decision.
H. J.-W.:
All the same, it pained us Braun enthusiasts. Mr. Rams, which development for Vitsoe do you think was significant.
D. R.:
I think my assembly system RZ 57, wall shelf RZ 60 and shelf system are still up-to-date (fig. 16). These systems offer variability to the highest possible extent, thorough construction down to the smallest detail. They are normal and at the same time cleverly usable furniture systems. They never stopped fulfilling requirements of the high possible degree of flexibility in interior design.
H. J .-W. :
Regretfully, we come to the end of our interview. Mr Rams, how would you describe your future occupation within the Braun AG?
D. R.:
lt is no langer my aim to design products. Therefore Peter Schneider will take over as director of Braun Design Department from me in August of this year. I want to take care of Braun 's world-wide appearance, image so to speak, my intention is to maintain and improve Braun's appearance. In my new function as Executive Director Corporate ldentity Affairs I shall report to the Chairman of the Board exclusively. On top of that I want to pass on all that's essential in good German design and make it known to the rest of the world.
This interview with Dieter Rams was held by Hartmut Jatzke-Wigand on the Hamburger Hochschule für Bildende Künste.
Photos: Braun AG und Jo Klatt
Source:
Jatzke-Wigand, H.: "I am still sticking to my design …". In: Design+Design 33, Hamburg 1995, 6-17