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Braun Design.
Less but better

Braun Design: A special approach.

Il termine “Design di Braun” si riferisce a un particolare approccio nella creazione dei prodotti. Una caratteristica tipica è la combinazione di innovazione tecnica, nuova estetica e un certo grado di facilità d’uso, pensata fino nei minimi dettagli.

Fritz Eichler prima e Dieter Rams poi hanno descritto le caratteristiche principali del design di Braun facendo riferimento a Richard Moss*, secondo la cui analisi il design di Braun segue tre leggi: semplicità, ordine e armonia. Il primo di questi termini si riferisce alla creazione di una forma armoniosa usando il minimo dei materiali.

I prodotti Braun vogliono infatti rifuggire dagli effetti del design a breve termine e da tutto quello che è alla moda, spettacolare, chiassoso e appariscente. Ne risultano prodotti che possiedono chiarezza iconica e longevità visiva – “Meno ma meglio” – in modo che l’attenzione ricada sugli aspetti essenziali. Il design ha una base comune che accomuna tutti i prodotti Braun in un’unica linea distintiva, non importa quanto possano essere diverse le funzioni degli apparecchi.

L’estetica e la poesia della semplificazione
Tuttavia, il design di Braun non può essere descritto semplicemente elencando tutte le regole di design. La speciale estetica, essenza del design di Braun, trova un riscontro diretto nella citazione di Wabi Sabi, una visione giapponese sulla percezione della bellezza: “Ridurre fino all’essenza senza però togliere la poesia”.

*Richard Moss, “Braun,” in: Industrial Design, New York, 11 novembre 1962

Historic Braun Design milestones.

SK 4 | 1956
Combinazione radio-fonografo Design: Hans Gugelot, Dieter Rams

T 3 | 1958
Transistore radio portatile Design: HfG Ulm, Dieter Rams

sixtant SM 31 | 1962
Rasoio elettrico Design: Gerd Alfred Müller, Hans Gugelot

T 1000 | 1963
Ricevitore a onde corte Design: Dieter Rams

T 2 / TFG 2 cylindric | 1968
Accendino da tavolo Design: Dieter Rams

MPZ 22 | 1972
Spremiagrumi, citromatic Design: Dieter Rams, Jügen Greubel

ET 33 | 1977
Calcolatrice tascabile Design: Dieter Rams, Dietrich Lubs, Ludwig Littmann

DW 30 | 1978 Orologio da polso Design: Dieter Rams, Dietrich Lubs

PGC 1000 | 1978
Asciugacapelli, supercompatto Design: Heinz Ullrich Haase

micron plus de luxe | 1980
Rasoio elettrico Design: Roland Ullmann

atelier A 2, C 2, T 2 | 1982 P4 | 1984
Design: Peter Hartwein

KF 40 | 1984
Macchina per il caffè, Aromaster Design: Hartwig Kahlcke

D 5 | 1991
Spazzolino elettrico, Plak Control Design: Peter Hartwein

Ten principles for good design.

In the 1980s, Dieter Rams formulated “Ten principles for good design”: these expressed what he believed constituted good, i.e. functional and unique, product design. These principles were the theoretical expression of a design approach that has been developed at Braun since 1955, and that was substantially shaped over the following decades by Dieter Rams.

On the subject of his principles, Dieter Rams had this to say: “In my ten principles, I formulated the basic considerations that inform my work as a designer and that represent the main elements of my design philosophy. However, they could and should never be seen as prescriptive, since ideas about what constitutes good design are constantly evolving – in just the same way as technology and culture develop.”

1. Good design is innovative
The possibilities for innovation are not, by any means, exhausted. Technological development is always offering new opportunities for innovative design. But innovative design always develops in tandem with innovative technology, and can never be an end in itself.

2. Good design makes a product useful
A product is bought to be used. It has to satisfy certain criteria, not only functional, but also psycho logical and aesthetic. Good design emphasises the usefulness of a product whilst disregarding anything that could possibly detract from it.

3. Good design is aesthetic
The aesthetic quality of a product is integral to its usefulness because products we use every day affect our person and our wellbeing. But only wellexecuted objects can be beautiful.

4. Good design makes a product understandable
It clarifies the product’s structure. Better still, it can make the product talk. At best, it is selfexplanatory.

5. Good design is unobtrusive
Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s selfexpression.

6. Good design is honest
It does not make a product more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.

7. Good design is long-lasting
It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it lasts many years – even in today’s throwaway society.

8. Good design is thorough, down to the last detail
Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the consumer.

9. Good design is environmentally-friendly
Design makes an important contribution to the preservation of the environment. It conserves resources and minimises physical and visual pollution throughout the lifecycle of the product.

10. Good design is as little design as possible
Less, but better – because it concentrates on the essential aspects, and the products are not burdened with nonessentials.