• 1957
      Combi DL5
      The business end of Braun's first electric razor featured a thin, flexible, perforated foil that separated the user's face from the cutting blades beneath. Revolutionary at the time, that innovation persists to this day.
      Designed By:Dieter Rams, Gerd Alfred Muller
    • 1957
      KM 3
      In a market then dominated by heavy, chrome American appliances done in the streamlined style, Muller's sleek, white, Scandinavian-aesthetic food processor was another signal that Braun design would forge their own path.
      Designed By:Gerd Alfred Muller
    • 1958
      HF 1
      A sharp break from the prevailing, heavy, wooden, furniture-like archetype of what a television should be. Futuristic for the time and almost shockingly minimalist, with lesser-used controls hidden under a lid.
      Designed By:Herbert Hirche
    • 1962
      Sixtant SM 31
      The elegant matte-black surface was a departure from the then-prevalent white/cream aesthetic of toiletries. The Sixtant SM 31 also featured the first galvanoplastic, platinum-coated shaving foil.
      Designed By:Gerd Alfred Muller, Hans Gugelot, Fritz Eichler
    • 1967
      KSM 1/11
      The most minimalist Braun product yet was this coffee grinder--a cylinder with a single red button. But the slightly curved taper still provided that human touch, letting you know that this came from a designer, not a machine.
      Designed By:Reinhold Weiss
    • 1971
      HLD 6/61
      A beautiful example of reconciling pure geometry with functionality, and adding an innovative touch in the slide-on concentrator nozzle. It's difficult to guess what era this was designed in--a sign of its timelessness.
      Designed By:Jurgen Greubel
    • 1972
      KF 20
      A cylinder broken into three functional components: The drip housing, the coffeepot and the heating element. The KF 20 coffeemaker, like the PS 1000 turntable before it, set the modern layout for this category of device.
      Designed By:Florian Seiffert
    • 1975
      AB 20/20 tb
      Highly legible, compact, and with a flip-down lid containing time-zone markings, this travel clock became a go-to item for the globetrotting businessperson.
      Designed By:Dieter Rams, Dietrich Lubs
    • 1978
      PGC 1000
      A symbol of Braun's technological might and ergonomic research. The former was responsible for the vastly smaller shape and intake vents moved to the rear, now a staple; the latter gave birth to the then-radical angled handle.
      Designed By:Heinz Ullrich Haase
    • 1978
      ABR 21
      The symmetrical form of this bedside alarm clock/radio made its dual functions perfectly obvious, and the array of dots for the speaker grill recalled the SK 1.
      Designed By:Dieter Rams, Dietrich Lubs
    • 1981
      ABW 41
      A fine example of "Form follows function," the ABW 41 didn't have a centimeter of wasted space; the frameless wall clock was all dial. On the technological front, this was then the flattest clock in the world.
      Designed By:Dietrich Lubs
    • 1983
      BP 1000
      Hair drying to-go: Oberheim's design for travel hinged the handle for stowage, and cleverly left it both hollow and open from the bottom, providing a handy way to stow the power cable.
      Designed By:Robert Oberheim
    • 1984
      KF 40
      This refinement of the KF 20 perfected the shape. The ridges on the back are not for style; they reconcile the need to use an affordable material for mass production--polypropylene--by precluding potential waviness in the surface.
      Designed By:Hartwig Kahlcke
    • 1985
      Micron Vario 3 universal
      Another first: The Micron Vario 3's innovative slider button enabled the beard trimmer to flip out at 90 degrees. It was the sort of subtle, intelligent innovation that Braun was known for, and that competitors would copy.
      Designed By:Roland Ullmann
    • 2012
      Braun's latest haircare product is the SensoCare, a sleekly-designed curling iron with ceramic, rather than metal, heating plates and graphic speed- and moisture-level indicators.
      Designed By:Braun Designers
    • 2013
      On the women's hair-removal front, the Silk-Epil 7 SkinSpa boasts superfine, superior-to-waxing performance. It is able to remove hair down to the 0.5mm level while simultaneously massaging and exfoliating.
      Designed By:Braun Designers
    A Sponsored Archive of Historic Braun Design

    In recognition of Braun's long history of and dedication to "good design," Core77 presents this archive of product histories, photos and more to highlight Braun's success in creating meaningful products that people enjoy using.


    In the 1920's Braun started as a small engineering shop and by the 1960's had become an internationally renowned brand for small electrical appliances—a development driven by technical innovation, long-lasting quality and outstanding design. Today, nearly 90 years after its inception, Braun is part of P&G, the largest consumer goods products company in the world.

    Posted by hipstomp / Rain Noe  |   3 Jul 2013  |  Comments (0)


    Handheld hair dryers made by a variety of manufacturers had existed since the early part of the 20th Century, but they weren't very popular; They were heavy, unwieldy, and even dangerous, offering a risk of electrocution. They were also ugly: Most of them looked like a large metal teardrop with a stick-like handle shoved into the side of it.

    By the early 1960s, Braun was confident enough in their technology that they knew they could produce a safe, reliable handheld hairdryer—and one that was beautiful. What is fascinating about this timeline of Braun's haircare products is that you can see their thinking evolve. As per usual, they undertook bold experimentation in form factor, ignoring what their competitors were doing, until finally arriving at a "correct" solution on their own terms. They also started out thinking the hairdryer was a unisex product, then later realized that each gender was using them differently, and bifurcated their offerings to address this.


    HLD 231
    Reinhold Weiss

    Braun's first hairdryer, the HLD 231, eschewed the teardrop-on-a-stick form factor that was the current norm. Instead the sleek unit resembled a small heater, one meant to be grasped by the cylindrical bulge at the back. A single switch at the front, with a minimalist red dot, leaves no doubt as to how you were meant to turn it on. The device sold well enough that it did not require updating for some six years.


    HLD 4
    Dieter Rams

    Rams' 1970 update, the HLD 4, featured a friendlier shape and a grill area nearly as tall as it was wide. Aesthetically, the split, horizontal lines of the grill resemble earlier versions of Braun stereos, attempting to convey a brand identity across product categories.


    Posted by core jr  |  17 Jun 2013  |  Comments (0)
    Content Sponsored by Braun

    We recently had the chance to chat with designer Naoto Fukasawa and IDEO's Jane Fulton Suri, who served on the jury for last year's Braunprize selections. As keen observers of the world at large and the man-made objects and obstacles we encounter on a regular basis, both Fukasawa and Suri had plenty of interesting things to say about the current state of design and just what it means to be 'normal.'

    Core77: It seems that you are both highly attuned to the world around you—or rather, us. Both the Super Normal and Thoughtless Acts document what might be considered as everyday or mundane, but actually have been accepted or adopted by users as conventions. Have either of you noticed memorable examples of these things that we take for granted lately?

    Naoto Fukasawa: I have been conducting the 'Without Thought' workshop to young designers for over 15 years. In these workshops, what I have been hoping for the participants to understand is that our behaviors and movements are not produced by ourselves thinking of how to move our bodies every second but instead, such acts are produced by our body naturally responding to given situations and environments.

    For example, walking is defined by a sequence of movements of our legs and feet: placing one foot forward on the ground and then moving the other to follow. When we recognize a surface that is not the greatest to step on, we naturally avoid it and if we lose balance by doing so, perhaps we try to put our hands on walls and so on. Mountaineering and rock climbing face limited surfaces to place our hands and feet and sometimes the areas everyone subconsciously grabs get polished. Making a decision for a behavior is a response of body beyond one's consciousness, and in this context, we are all sharing something greater than being individuals: human as bodies.

    Our environments, situations and information ignite our behaviors. Specifically, our environments, situations and our body are synchronized to each other and create our environments.

    JaneFultonSuri-ThoughtlessActs.jpgThoughtless Acts

    Jane Fulton Suri: Boarding planes these days there's always a scramble to find space to stash luggage in an overhead bin—people close the bin when it's full and thereby simplify the search for everyone. And I see lots of new habits have emerged with our attachment to flat-screen mobile phones: The phone is always with you so it's a handy bookmark for your magazine when you have to put it down for a minute; it's a weight to hold the page open when cooking from a recipe book; an immediate surface to attach a sticky-note as a reminder, the lit screen is a flashlight to find the bathroom at night or, in unity with a crowd of fans, to light up a stadium, and if you reverse your phone camera, the screen is better than a mirror for checking if there's something in your teeth or putting on makeup! Social cues come into play at meetings too: if your phone is placed on the table face down, you're there to pay attention, if it's face up, you signal that something else is important!


    Posted by core jr  |   4 Jun 2013  |  Comments (0)
    A Sponsored Post on the History of Braun Design

    From the tender age of 14, Oliver Grabes knew that he wanted to pursue industrial design. He liked cars, he liked objects, and wanted to have a hand in shaping these things. "I knew I had to become an industrial designer," Grabes says. "That was lucky in that I didn't have to make up my mind of what to study; it was more a question of which design school to go to and which branch of industrial design to pursue."

    After earning a degree in product design from Offenbach College, Grabes spent nearly twenty years working for design consultancies, from his native Germany to Seattle to London. Cutting his teeth on technical products in the '90s, before user experience became a part of the public consciousness, was a good time to learn: "Using a computer was so awful at the time, that I really started to become aware of how design had the potential to help make technology be a great experience for people," Grabes explains. "You saw, fundamentally, why you got into design; you saw there was a real need for making technology more human, giving people an easier, better, more intuitive experience of using it."

    In 2006, having done work for the likes of AT&T, Boeing, Bosch, General Electric, Microsoft, Sony, Nike and others, Grabes became a Professor of Industrial Design at the University of Wuppertal, which has one of the highest-ranked ID programs in Germany. And when Braun asked him to become their Head of Design in 2009, the opportunity was too good to pass up. Braun had been aware of Grabes' work for years, but Grabes had admired Braun's work for decades—here he shares his thoughts on growing up with Braun, Dieter Rams' legacy and how to get a job at Braun.

    Core77: As a youth, what were some of the earliest objects whose design you became aware of?

    This sounds a bit awkward, but it really was many of the Braun products at the time. Growing up in Germany, there were very few families that didn't have at least one Braun product at home, because they made so many household products—we had them in the kitchen, the bathroom, the living room. I was particularly fascinated by Braun audio products at the time, like the famous Atelier stereo system. We didn't have one of those. My friend's family had one and when I would go to their house, I would study it very closely.


    Posted by hipstomp / Rain Noe  |  29 May 2013  |  Comments (1)
    A Sponsored Post on the History of Braun Design

    As we've seen in earlier installments of this series, Braun revolutionized the product categories of audio entertainment, personal grooming and even time-telling. By the 1950s, they begun to expand out of the living room, the bathroom and the bedroom to transform the most crucial of household spaces: The kitchen, where every family's sustenance was prepared. It was arguably the space where the housewives of the era, and the children they minded, spent the most time.

    It was also a room for work, where design had yet to make a significant impact in easing the burden of labor. Braun's designers tackled kitchen tasks with their characteristically superb analysis of what was needed, and how those objects should look and function. They began by introducing a host of diverse kitchen products, but it was the preparation of one hot beverage in particular—coffee—which allowed them to knock it out of the park time and again, in their relentless search of design perfection.


    KM 3
    Gerd Alfred Muller

    From the get-go, it became clear that Braun would forge their own design path in this category. The KM 3 food processor was radically different from then-dominant American mixers of the time, which followed that country's streamlined, chrome-heavy style and often look as if they were manufactured by Chevy. The sleek, simple KM 3, in contrast, looked as if it were related to Braun's electric razors of the era. But this was no example of trying to graft the design of one product category onto another; the smooth, largely featureless shape was easy to clean. Attesting to the successful design of the KM 3 is that it would see production, with slight modifications, for more than thirty years.


    Posted by hipstomp / Rain Noe  |  30 Apr 2013  |  Comments (2)
    A Sponsored Post on the History of Braun Design


    In the early 1920s, company founder Max Braun had made his entrepreneurial start by manufacturing radio componentry. By 1929 the canny Braun was producing complete radio sets of his own design. In 1934, the "A" in the center of the Braun logo (above) was shaped to resemble their art-deco-styled Cosmophon 333 radio (below).


    As was and is the Braun hallmark, technical sophistication married with innovative design would mark the category. As early as 1932, Max Braun had created a combination radio-phonograph, this at a time when radios with a built-in speaker was still a fairly new idea.


    But it wasn't until the mid-1950s that the company, under the stewardship of Max's sons Erwin and Artur, began forming a proper design department combining the foci of several talented individuals. Through their collaboration, drive, and relentless experimentation, the company began producing audio goods that moved firmly into what we would later think of as MoMA territory. And they would take some wild chances along the way.


    SK 1
    Artur Braun, Fritz Eichler

    This design storm began around 1955, with Artur Braun and Fritz Eichler's SK 1 tabletop radio. The relatively tiny device could be placed on a windowsill and was a sharp departure from the gaudy visual clutter of other radios of the era. There was a dial and two unlabeled control knobs set into one side of a rational grid of dots for the speaker, and the barest hint of fins on the bottom for the device to stand on. (The grid of dots, by the way, would appear time and again in a variety of Braun products of all categories.)

    Braun-G11-viaDasProgramm.jpgImage courtesy of Das Programm, specialist sellers of Braun Design, 1955–1995

    G 11
    Hans Gugelot

    While the SK 1 was radical, the company had still not yet given up on the idea of using wooden-bodied radios, as was the fashion of previous decades. But Hans Gugelot's sleek G 11 design deviated wildly from the baroque "music furniture" that consumers were familiar with. It also contained a design innovation that would come to influence the product category: The side edges were completely flat and the same dimensions top and bottom. If a consumer purchased the corresponding G 12 turntable, they could stack it atop the G 11.


    Posted by hipstomp / Rain Noe  |   2 Apr 2013  |  Comments (1)
    A Sponsored Post on the History of Braun Design


    Every student of industrial design ought study Braun's line of timepieces. The sheer variety and innovation, on both the design and technical fronts, that the company was able to inject into something as simple as a time-telling device is staggering; Braun was obsessing over minute bevels and visual clarity years before smartphone manufacturers sought to differentiate one glass rectangle from another. The ability to so resoundingly distinguish a small circle on your wrist from other offerings on the marketplace is a testament to Braun's unrivaled championing of industrial design. Many of the objects they created have a quality of inevitableness to them, as if they had chipped away at all distractions and arrived at a universally perfect product, with nothing anyone could possibly add—or subtract—to improve them. Yet they continually updated their offerings for more than two decades, with a deep product line-up that would keep many a design curator busy.

    On the subject of curation: The fact that every industrial design student does not study Braun's timepieces is probably because no one has compiled a comprehensive record of all of them. While we attempt to address that here, there are many models that we missed for want of images or information. The line is simply too large, the rare models too elusive. But we hope this will provide you with some sense of the deep mark that Braun made on what was formerly a staid product category.


    braun-clock-03phase1-2.jpgImage courtesy of Das Programm, specialist sellers of Braun Design, 1955–1995

    phase 1
    Dieter Rams, Dietrich Lubs

    Braun's first clock was the relatively primitive phase 1. Clearly a first effort, it gave no hint as to the breadth of design variety to come. It featured numbers printed on little plaques attached to a mechanical rotating mechanism. That being the case, the body was large while the numbers were small; a trade-off the designers would not be willing to live with for long.


    phase 2
    Dietrich Lubs

    By 1972 they had switched over to a flip-clock mechanism, whose tighter mechanicals enabled a smaller form and a larger display. In the phase 2 we see the design team gaining mastery over the technology in order to improve the user experience. But they were not done yet; this form factor was still driven by its mechanical innards, which they would soon discard altogether. Cutting-edge technology was in the works for what would be their radical release of 1975.

    phase 3
    Dietrich Lubs

    At the same time they put the phase 2 on the market, Braun also dipped into the analog clock pool, releasing this compact phase 3 alarm clock. It bears virtually nothing in common with the phase 1 and phase 2, despite being released at nearly the same time; but it illustrates the design team's freedom to experiment, a characteristic Braun quality that would pay off time and again. The analog form factor would evolve into objects that collectors would treasure.

    braun-clock-06FUNCTIONAL.jpgImage courtesy of Das Programm, specialist sellers of Braun Design, 1955–1995

    Dietrich Lubs

    By 1975 Braun's gorgeous functional was ready to go. As the mechanicals were now supplanted by eletronics, it no longer featured bulky innards that needed to be stuffed into a box; Dietrich Lubs took full advantage of this, creating a clock comprised of two slim, intersecting components. The rear, horizontal portion houses the circuit boards and supports the buttons (which were raised, so they could be located in the dark). The front portion held the gas discharge display, which was angled upwards for easy legibility.

    Also note the self-restraint: The sleek, black display with its slick red numbers would have looked cluttered with the white Braun logo, so instead the logo was moved behind the screen, to the top of the unit.


    Posted by hipstomp / Rain Noe  |   6 Mar 2013  |  Comments (5)
    A Sponsored Post on the History of Braun Design

    Clockwise from top: Josh Rigg won our "Good Design Is Long Lasting" competition back in 2011 with this drawing of the Sixtant BN (1967); Cassett (1970); Sixtant Color (1971); Silk-épil EE-1 (1989); SM5 Commander (1963)... read on for more on each one

    Shaving has been around for a long time. In the 4th Century B.C. Alexander the Great, an early proponent of shaving, ordered his troops to do it. Alexander had observed that beards were a martial liability for soldiers; if you didn't remove your own facial hair, your opponent would do it for you—by using your beard to grab your face.

    Two dozen centuries later, in 1930s Germany, a fellow named Max Braun was also concerned with removing men's facial hair, though in a more civilized manner: Using precision-machined blades and a small electric motor. Using an electric machine rather than water and lather to shave your face was a fairly new concept, with the electric razor having been invented only the decade before in America; but Braun knew he had the technological know-how to produce a competitive device.

    That was because Braun was already on the cutting edge, if you'll pardon the pun, of manufacturing; he'd been running his own successful engineering and manufacturing firm since 1921, cranking out radio components and eventually, entire radio sets. By the late 1930s Braun had completed his own novel design for an electric razor, and worked out how it would be produced. Unfortunately, there was also a war brewing, and all German industry was shortly pressed into miltary service. Braun's electric razor was shelved for the time being. Whereas war had promoted shaving in Alexander's time, during Braun's, it temporarily sidetracked it.

    Nevertheless Braun stuck to his goals, and rebuilt his factory after it was destroyed in the war. By the late 1940s he had rebuilt his operation, and by 1950, he finally embarked on his mission to see the world filled with clean-shaven men using Braun products. The innovations his company spawned changed men's shaving forever.

    Let's start at the beginning.


    S 50
    Max Braun

    The S 50, Braun's first electric razor, was an auspicious start for the category. Max Braun had developed a key design innovation: Whereas competitor's models had a comb-like metal layer that shielded the user's skin from the blades beneath it, the S 50 featured a thin, perforated metal foil that covered the cutting blades. When the user placed this surface against his face, his facial hair went through the holes and was trimmed by the blades. This foil was thinner than the metal combs on incumbent devices from Schick and Remington, and therefore provided a closer shave. It was a clear-cut case of superior design and better manufacturing techniques providing a better product, and Braun's foil innovation in shavers persists to the current day.

    S 52
    Max Braun, Artur Braun

    Though the S 50 was a hit, Max Braun was not a man to rest on his laurels; working with youngest son Artur, who had apprenticed in the engineering department of the company, they quickly followed up with the S 52. It featured a wider shaving head, a more powerful motor and an aluminum casing. Sadly, Max Braun passed away shortly after completing this design.


    Posted by core jr  |   5 Mar 2013  |  Comments (1)


    With a record number of submissions from 73 nations, designers answered the challenge "Genius design for a better everyday." The BraunPrize 2012 embraces the increased relevance of well-designed products that help improve all aspects of everyday life. With most people's daily challenges becoming increasingly complex and demanding, we rely on ubiquitous technology, highly connected social structures and our ability to cope with a fast, 24/7 lifestyle.

    Our everyday has become an artificial environment of architecture and technology and while it seems that the quantity of products around us is consistently increasing, their level of quality is not. We have surrounded ourselves by many things we don´t really value, instead of focusing on fewer but better solutions to help us live our lives. With this in mind, the BraunPrize 2012 is looking for ingenious solutions and product ideas to make our everyday a better place.

    Established in 1968, the BraunPrize was Germany's first international design prize. It was originally introduced by Erwin Braun, son of Braun founder Max Braun, and the goal was to stimulate public debate about design, "during a time when understanding and awareness of design and its positive benefits were largely unknown." This year's program was juried by Oliver Grabes (Head of Braun Design and Core77 Design Awards Consumer Products Jury Captain), Naoto Fukasawa (Founder of Naoto Fukasawa Design), Jane Fulton Suri (Managing Partner and Creative Director at IDEO), Anne Bergner (BraunPrize Winner 1999 and Design Consultant) and Dirk Freund (Director R&D, Global Braun).

    Core77 was invited to be part of a special jury team of 80 guest jurors for the 2012 BraunPrize ceremony to help determine the Gold, Silver and Bronze winners of this year's program. After hearing three professional/enthusiast and three student teams present their projects, the international group of guest jurors voted to decide this year's winners.

    There were six Global Winners: Gold, Silver, Bronze in two categories, three Sustainability Award Winners: two Students and one Professional & Enthusiast, 30 National Winners and 20 Special Mentions with projects addressing challenges in mobility, clean energy, personal expression, safety and environmental sustainability.

    >> View Gallery

    Posted by core jr  |  26 Feb 2013  |  Comments (0)
    A Sponsored Post on the History of Braun Design


    Braun has been a benchmark for beautiful and functional design from its founding as an audio manufacturer in the '30s, to the debut of the S50 shaver in the '50s and including its current innovations in personal care like CoolTec dry shaver for sensitive skin. The undeniable influence of the era of Eichler and the Ulm School of Design on the role of design in business includes Dieter Rams' iconic "less is more" aesthetic." From personal care to audio, timepieces to kitchen appliances, the Braun brand permeates our most personal every day products.

    Core77 is proud to launch a microsite dedicated to the history of Braun design. Over the next few months, we'll be doing a deep dive on the histories of Braun's Shavers, Time Pieces, Audio, Kitchen Appliances and Hair Care product categories. And today, we're launching with an interactive timeline of some of Braun's notable products from its storied design history. In addition, we have a full gallery of the most recent BraunPrize winners—the work has been honored for its "genius design for a better everyday."

    BraunPrize_Kanguru.jpgGlobal Gold Winner, Professional/Enthusiast - Känguru, designed by Berlin-based designer Oliver Klein. It is a Mobility Concept for the Urban Context—a baby carrier and bicycle seat in one.

    Established in 1968, the BraunPrize was Germany's first international design prize. It was originally introduced by Erwin Braun, son of Braun founder Max Braun, and the goal was to stimulate public debate about design, "during a time when understanding and awareness of design and its positive benefits were largely unknown." This year's program was juried by Oliver Grabes (Head of Braun Design and Core77 Design Awards Consumer Products Jury Captain), Naoto Fukasawa (Founder of Naoto Fukasawa Design), Jane Fulton Suri (Managing Partner and Creative Director at IDEO), Anne Bergner (BraunPrize Winner 1999 and Design Consultant) and Dirk Freund (Director R&D, Global Braun).

    This year's program awarded 6 finalists, 3 Sustainability Award Winners, 30 National Winners and 20 Special Mentions across Student and Professional categories.

    See our coverage of the 2012 BraunPrize ceremony here and the full gallery of the winners here.

    >> Photo Gallery


    Posted by Core77 Design Awards  |  15 Feb 2013  |  Comments (0)


    As of today, there are only four weeks left to enter the Core77 Design Awards—we've even integrated a handy countdown clock into the Core77 homepage so you don't forget that time is winding down...

    Of course, that's still plenty of time for you to put together a kickass entry, and we've got awesome news for those of you who are entering the Consumer Products and/or Equipment categories: We're pleased to announce the final two jury captains for the 2013 Core77 Design Awards program, and we think you'll share our excitement in welcoming these two design luminaries, as well as the 15 others we've already announced—all in one place!

    Update, March 5: Check out the Jury Team lineups, hand-picked by our Jury Captains.

    * * *

    Judging location: Frankfurt, Germany

    CP-OliverGrabes-468x312.jpg» Oliver Grabes, Jury Captain
    Head of Design at Braun

    Since September 2009, Professor Oliver Grabes is the new Head of Braun Design and is spearheading Braun's new design approach: "the strength of pure." His approach is to translate heritage into the future; taking Braun's values and world famous design heritage and combining it with modern technologies. His approach creates coherent products that are easy to use, useful and well designed. High quality is paramount to ensure a long-lasting product that creates a positive product experience over years. In addition to being Head of Braun Design, he is the chairman of the jury for the BraunPrize 2012 with the theme of "Genius Design for a better everyday."

    Judging location: Shanghai, China

    Eq-DuncanTrevorWilson-viaDMI-468x312.jpgImage via DMI
    » Duncan Trevor-Wilson, Jury Captain
    Design Manager at GE Healthcare

    Duncan Trevor-Wilson is the global design manager for emerging markets at GE Healthcare based in Shanghai. Responsible for driving Strategic design solutions to developing nations healthcare challenges. Formerly he was a design manager at Motorola consumer experience division Beijing and ResMed Australia. In addition he has been awarded multiple design awards and patents for his innovative creations.

    Hit the jump to see all of the previously-announced jury captains!


    Posted by hipstomp / Rain Noe  |  25 Jan 2013  |  Comments (6)


    From the Holy Cow Department: A collector in Heidelberg, Germany spent years amassing an impressive collection of Braun-designed objects—radios, phonographs, clocks, speakers, televisions, blenders, coffeemakers, toasters, you name it—made from 1955 to 1985. And s/he is now selling the entire collection off, roughly 1,000 objects, on eBay!


    In addition to Dieter-Rams-designed icons like the SK 4 "Phonosuper," s/he's got classics like the SK 1 designed by Artur Braun and Fritz Eichler, the Florian-Seiffert-designed KF 20 Aromamaster, the Herbert-Hirche-designed HF 1 TV set, the list goes on...and on...and on.


    The good news is you've still got five days left to get in on this! All you've gotta do is pony up the cash and get your ass to Heidelberg for pickup, about 100 miles north of Stuttgart.


    The bad news is, the bidding starts at €350,000. But look, man, that Bauhaus museum you've been meaning to start isn't going to open its damn self.


    Hit the jump to see the video that the seller kindly made... to torture us.


    Posted by LinYee Yuan  |  26 Sep 2012  |  Comments (0)


    The BraunPrize wrapped up a record year, honoring 39 designs from around the world in their 2012 program. Over 100 design professionals (including former Heads of Braun Design Dieter Rams and Peter Schneider) making up this year's Design Forum gathered at Braun's Frankfurt headquarters today to hear final presentations from 3 Student and 3 Professional/Design Enthusiast finalists to award the winners for 2012's BraunPrize.

    BraunPrize2012_olivier_dieter.JPGOlivier Grabes and Dieter Rams

    The jury, consisting of Oliver Grabes (Head of Braun Design) Naoto Fukasawa (Naoto Fukasawa Design), Jane Fulton Suri (Managing Partner IDEO), Dr. Dirk Freund (Director of R&D Braun) and Anne Bergner (Former BraunPrize Winner and Professor of Integrated Product Design at University of Applied Sciences Coburg) had done most of the heavy lifting over 3 days in June. They combed through over 10 kilometers of paperwork (almost 2,400 entries) representing 73 countries from around the world and emerged with 3 finalists for the Student, Professional and Sustainability categories, as well as 15 notable entries from both student and professional entries representing National Winners.

    BraunPrize2012_naoto_jane.JPGNaoto Fukasawa and Jane Fulton Suri

    The Global Gold Winner for the Student category was awarded to Sebastian Reichel for Agil, a flexible walking aid. Using innovative materials and construction, Reichel started with the notion that a walking stick could be an extension of one's arm to provide stability and support. Through careful design research and engineering considerations he found that creating hollow chambers within an "S"-shaped handle allowed for a dynamic and natural motion from the user.




    The audience got a special surprise when Dieter Rams raised his hand and approached the podium to do some user testing. Unfortunately, the product on display was just a design display, not a functional prototype. Congratulations to Sebastian on his win! His work sheds light on the importance of designing for the aging population as well as those with disability.

    Silver for the Student category was awarded to former boyscout Jussi Koskimäki for his First Aid Cover, an emergency blanket that can provide basic CPR and aid guide to timid bystanders in an emergency situation. The Cover could be distributed through first aid kits and emergency locations in public places. Bronze went to Dirk Hessenbruch for Mo, a flexible bike share and urban mobility system (as seen on Core77).

    Dirk Hessenbruch's Mo System

    The Global Gold Winner for the Professional/Enthusiast category went to Känguru, designed by Berlin-based designer Oliver Klein. The father of two designed a baby carrier and bicycle seat in one as a "mobility concept for the urban context with Infant." While presenting his concept to the Design Forum, Klein shared his 6 driving design considerations: Ergonomic transition between baby carrier and bike seat, a lightweight frame design that was inspired by the hollow bone structure of birds, a quick and easy bike mount, tool-free disassembly for easy cleaning and care, and an option for custom-made frames through rapid prototyping. I particularly liked the adjustable sling for the baby that can accomodate children as they grow from 6-24 months.



    Posted by core jr  |   6 Jun 2012  |  Comments (0)

    Congratulations to our friends at the BraunPrize—in it's 18th year, the competition seeking "genius design for a better everyday" has received a record-breaking number of entries. Almost 2,400 entries from 73 countries were submitted for consideration. For the first time in the BraunPrize's history, the competition was open to design professionals, enthusiasts as well as design students. The expanded audience is part of Braun's mission "to make industrial design more widely accessible." To support that mission, Core77 and Braun challenged our readers to find Design in the Wild—a photo challenge identifying genius design for a better every day in categories like eat, work, play, relax.

    This year's BraunPrize also established a new Sustainability Award recognizing design projects with a strong focus on sustainable solutions. National Awards were also added to increase awareness across local design communities.

    Top, L to R: Naoto Fukasawa, Jane Fulton Suri, Anne Bergner; Bottom, L to R: Oliver Grabes, Dirk Freund (Director of Braun R&D)

    The BraunPrize jury—consisting of Professor Oliver Grabes as jury chairman and Head of Design at Braun, Dr. Dirk Freund as Head of R&D at Braun, and the globally renowned design experts Naoto Fukasawa, Jane Fulton Suri and Professor Anne Bergner—also had to decide on the global Sustainability Award winner as well as the respective national award winners. We look forward to recognizing the winners of this year's BraunPrize 2012 this year at the BraunPrize Ceremony taking place September 26, 2012 in Kronberg, Germany.

    Posted by core jr  |  26 Mar 2012  |  Comments (1)


    Congratulations to Nick Hayes, Grand Prize Winner of the Core77 x Braun Design in the Wild Photo Challenge. Our judges chose his photograph, "I Put a Record On," as the winning entry to receive a grand prize package from Braun of an industry leading notebook computer and tablet!

    "I Put a Record On" was selected as the winner for not only the quality of the products shown, but also because the photo illustrates a specific and familiar moment that's still utterly relatable. The image is highly evocative and brings several products together into a single instance in time while still being dynamic. "I'm in this moment," summarized judge Duy Phong Vu, Braun Section Head / Manager Product Design & Corporate Identity. "As the author points out, we have much more convenient ways to listen to music these days. So the act of putting a needle to vinyl is much more ritualistic than it used to be," explained judge and Core77 COO and partner Stuart Constantine. "This photograph conjures up the feelings and emotions that come with the ritual act, and therefore becomes a very powerful image referencing many products, systems, behavior, and environments."


    The Runner-Up Winner is Jennifer DiMase for "2,000 filaments". The most popular image with 535 votes at judging, 2,000 filaments was described by the judges as an image of "simplicity and power." It's a beautifully composed, "instantly recognizable" product shot that gives the viewer an uncommon look at an everyday object from their childhood. The photograph of a koosh ball earned DiMase an industry-leading tablet.

    Overall the judges, Phong & Stuart, found this competition complex to judge for a number of reasons. Most obviously, the different categories ended up yielding different types of photos. EAT and PLAY submissions were generally more product focused, while WORK and RELAX contained a lot more system and environmental designs. Entries tended to be either direct and object based, or less obvious but with compelling stories that pulled one in. Finally it was decided that the photo needed to speak first, and then the rest of the criteria were assessed. Looking back at the photo challenge's overall entries, here were some of our judge's most memorable notables:


    Posted by core jr  |  28 Sep 2011  |  Comments (0)


    Last week, Braun announced the details for the 18th edition of their preeminent design awards program, a competition that they've held every three years since 1968. This year sees a couple of notable developments since last time around: for the first time in the history of the BraunPrize, they're opening the field to "design professionals and enthusiasts"—i.e. the general public—instead of just students, who will be judged in a separate category. To this end, the total prize money comes in at $100,000 and they've added a new Sustainability Award.


    The jury, this time around, consists of esteemed design innovators Naoto Fukasawa, Jane Fulton Suri and Anne Bergner, led by jury captain Oliver Grabes, Braun's very own Head of Design, who explained further:

    Our new awards theme is 'Genius design for a better everyday' embracing the high relevance of innovative, well-designed products for everyday life. As ever, we want to support great ideas that lead to innovative, practical, beautiful and intuitive product solutions tailored to everyday needs—the trademarks of Braun's influential design process. We want to ensure that the BraunPrize not only provides a showcase to those design students and professionals who want to pursue a career in design, but that it also encourages design enthusiasts outside of an academic context to enter.

    BraunPrize-JuryComp.jpgTop, L to R: Naoto Fukasawa, Jane Fulton Suri, Anne Bergner; Bottom, L to R: Oliver Grabes, Dirk Freund (Director of Braun R&D)

    Registration for the BraunPrize opens this Saturday, October 1, and they will be accepting submissions for six months, until March 31, 2012; winners will be announced at the "lavish BraunPrize Ceremony on September 26, 2012, in Kronberg, Germany." Once again, Braun has the blessing of icsid, the International Council of Societies of Industrial Design, who will support and endorse the 2012 BraunPrize.

    Learn more here.

    BraunPrize-ClamIOLEDLamp.jpg2009 Winner Clam I OLED Lamp by Johanna Schoemaker

    Posted by core jr  |  11 Aug 2011  |  Comments (0)

    Last night marked the opening of the Core77's exhibition "Good Design Is Long Lasting" at the Phaidon flagship store in New York City's Soho neighborhood, celebrating the work of Dieter Rams. We ended up with nearly 50 entries on our product timeline, which will be on view during store hours until August 24th.


    We have a recap of the very well-attended panel discussion (with video) forthcoming, but we're sure the contest entrants are itching to find out if they won a copy of the new book As Little Design As Possible: The Work of Dieter Rams. Without further ado, congratulations to Josh Rigg, whose drawing of the Braun Sixtant Shaver (1962) included the short note, "Simple design that takes care of one hairy problem!"


    It was definitely a tough decision, not least because we had quite a few excellent renderings of Rams' iconic electric razor design, so we'd like to share some of the other notable contenders as well. Many of us at Core really liked the winsome simplicity of Yuka Hiyoshi's take on the Vitsoe 606 shelving unit (1960):


    David Hu submitted a few entries from his iPad, including this take on the Braun HF1 Television (1958):



    Posted by core jr  |  28 Jul 2011  |  Comments (1)


    Good design is innovative.
    Good design makes a product useful.
    Good design is aesthetic.
    Good design makes a product understandable.
    Good design is unobtrusive.
    Good design is honest.
    Good design is long-lasting.
    Good design is thorough down to the last detail.
    Good design is environmentally friendly.
    Good design is as little design as possible.

    In support of As Little Design As Possible: The Work of Dieter Rams, Core77 and Phaidon are hosting a design contest to celebrate Rams' work and design principles.

    Add your sketch to the Core77 Dieter Rams product timeline which will be exhibited at the Phaidon Flagship store in New York City for a chance to win a copy of the new book.


    All entries are due by August 8th. Download the contest rules and official entry form here. PIck your favorite work by Rams from our selection and sumbit your black and white sketch to mail[at]core77.com for our product timeline!

    Core77 and Phaidon present...
    Good Design is Long Lasting
    August 10-24, 2011
    Phaidon Store
    83 Wooster
    New York City


    Posted by core jr  |  20 Jun 2011  |  Comments (1)


    We've been eagerly awaiting Sophie Lovell's new book Dieter Rams: As Little Design as Possible and today, Phaidon released a sneak peek at what the book has in store for us! For the project, photographer Florian Böhm was invited to document the Braun Archive and the house of Dieter Rams in Kronberg, Germany. His images provide a fascinating peek at the previously unseen world of Dieter Rams.

    There have been several books about Rams' work and impact in recent years (including the Klaus Kemp's Less and More which we reviewed in 2009), but what sets this weighty, almost 400-page tome apart is that Lovell spent three years with Mr. Rams writing the book. Sophie painstakingly helped to catalog decades of Dieter's work, and in the process, recorded his thoughts on everything from aesthetics in general to what makes a good designer. Each of his pieces is documented in chronological order, and fantastic photos are aplenty with details of product, rare images of prototypes, models and sketches, as well as shots of Ram's workshop and studio.


    The forward is written by Apple Senior Vice President of Design, Jonathan Ive, and the back of the book features interviews from 6 of today's most influential designers: Jonathan Ive, Naoto Fukasawa, Jasper Morrison, Sam Hecht, Konstantin Grcic, and Core77 friend and contributor / frog creative director, Michael DiTullo. Stay tuned for our more in-depth review and coverage of Dieter Rams: As Little Design as Possible and check out more pictures of the book after the jump!


    Posted by hipstomp / Rain Noe  |  11 Apr 2011  |  Comments (3)


    Suh-weet—Braun has decided to reissue a bunch of their clocks and watches, some of which are designed by, oh, some guy named Dieter Rams. In traditional subdued Braun style--remember the almost complete lack of hyped-up fanfare accompanying their 90th birthday?—they've quietly put the products up on their Braun Time website.



    Posted by hipstomp / Rain Noe  |  15 Feb 2011  |  Comments (6)


    An interaction design student from Sweden's Umea Institute of Design did this home music player for Spotify, seen above. Reportedly done in collaboration with that company, it allows you to play music by sticking a magnetic RFID tag linked to one of your playlists onto the volume knob; a reader embedded in the player identifies the tag and the appropriate music comes out of the speaker.

    That's all fine and good. What we take exception to is the assertion that this device "looks like a digital lovechild of Jonathan Ive and the brilliant Swedes at Ikea."

    Oh, really? Is that what it looks like?


    Posted by hipstomp / Rain Noe  |  31 Jan 2011  |  Comments (4)

    Tomorrow is the 90th anniversary of Braun, the Ramsian powerhouse of clean design that, yes, has been around since 1921 and was founded by Max Braun.

    After Max died in the '50s, sons Artur and Erwin Braun developed Braun Design, the dedicated design branch, in 1955. And then apparently some guy named Dieter came along and sort of, like, changed the face of industrial design as we know it, ushered in a German design renaissance and planted influences that we still see in products today.

    With typical German restraint, Braun has no splashy banners all over their homepage announcing the anniversary. They do, however, have a sexy slideshow of their design hits posted here.

    Posted by core jr  |  15 Jul 2010  |  Comments (0)


    Braunprize 2009.

    One of our favorite (and one of the oldest) design awards, the BraunPrize has announced plans to expand and revamp before it's next triennial appearance in 2012. In addition to putting the prize back on its former rotation of once every three years, the changes will increase its accessibility and engage design consumers and kindle a renewed interest in emerging markets.

    The revamp is is being led by Professor Oliver Grabes, Head of Braun Corporate Design, and Phil Dunan, P&G's Global Design Officer. Grabes says:

    In making some significant changes to the awards process, we are further establishing our commitment to the accessibility of this competition and want to ensure that it not only provides a showcase to those who want to pursue a career in design, but that it also encourages engagement with design for those enthusiasts and professionals outside of an academic context." He continues "As ever, we want to support great ideas, clarity of vision and practical, beautiful and intuitive solutions to everyday concerns, the trademarks of Braun's influential design process.

    The details are still under wraps and the competition still long in coming, but it's never too early to start planning! For inspiration see the 2009 winners and awards ceremony,

    Posted by Robert Blinn  |   3 Nov 2009  |  Comments (4)


    Make no mistake, the "deconstruction" in the new book Deconstructing Product Design owes as much to Derrida as it does to David Macauley. William Lidwell and Gerry Manacsa take 100 (mostly) iconic products and hold them up to the scrutiny of a panel of modern design thinkers. For a hard-core industrial designer, deconstruction as disassembly might have been more interesting than deconstruction as critical analysis. Although it could have revealed some hidden engineering mysteries, our desire to see Segways in pieces and Tickle Me Elmo eviscerated may have to wait for another book.


    Instead of laying waste to products with screwdrivers and crowbars, a wide range of occasionally famous, sometimes beautiful and frequently innovative products are subjected to the verbal barbs and jabs of unexpectedly-funny designers and engineers. In a very brief introduction the authors explain their criteria for choosing the 100 products they included: (1) does the product exemplify good design in at least one respect, and (2) does the product illustrate at least one key principle of design? Perhaps the best articulated spread of the book comes next, a two-page overview of the pages to come, complete with thumbnail text, picture frames and notes which provides a framework for understanding the product pages without resorting to a long-winded explanation.

    The bulk of the book consists of 200 pages of product photography and accompanying analysis. Each product is shot against a white background and so evenly-lit as to suggest a rendering rather than a photo. For some objects, such as the LC4 Chaise Lounge and the Pot-in-Pot cooler, the funny textures suggest rendering, while for others, such as Elmo himself, the red fur seems naturalistic enough to have been photographed. Rather than glossy product photography, however, the images serve only to remind the viewer of the form factors of already familiar objects. Far more interesting is the historical background and analysis provided by the authors (e.g. early prototypes of Apple's mouse used the ball from a stick of Ban Roll-On deodorant) and reading the color commentary from design thinkers (and Core77 contributors!) such as interaction designer Jon Kolko, product designer Scott Henderson and design researcher Steve Portigal. Across the bottom of each spread a variety of experts weigh in on the product with an assortment of critical commentary, fond reminiscence and occasional bursts of humor. This reviewer's favorite comment was from Lyle Sander, and experience designer, who noted that it would be "unsportsmanlike to order pizza" with the sculpturally phallic BeoCom2 phone.



    Posted by Stephan Ott  |  21 Sep 2009

    With the words "Ich bin ein Kronberger," Dr. Mark Breitenberg summarized his speech "Changes and Challenges of International Design Promotion" at the BraunPrize 2009 Award Ceremony on September 16th. Breitenbach, president elect of ICSID (International Council of Societies of Industrial Design), provost of California College of the Arts and former member of the BraunPrize jury, knows what he is talking about. Kronberg is not only the hometown of Braun, where the prize was founded in 1968, but also the place where the winners of the BraunPrizes are painstakingly selected.

    BraunPrize-2009-Finalists.jpgBraunPrize 2009 Finalists: (clockwise from upper right) Johanna Schoemaker, Karsten Willmann, Stephan Zimmermann, and Tobias Stuntebeck.

    No other design competition for young professionals requires so much effort to select a winner - three rounds of judging by two different juries must be passed. In 2009, a record number of 1074 projects from 54 different countries were submitted. The members of the BraunPrize jury included Anna Kirah, design anthropologist from Oslo; Kazuo Tanaka, President of GK Design Group, Tokyo; Florian Seiffert, retired Professor for Product Design, Fachhochschule Mainz (and first BraunPrize Winner in 1968); Rainer Silbernagel, Director of the Braun Engeneering, Kronberg; and Jury Chairman Peter Schneider, Head of Braun Design Department until the beginning of 2009. In the first two rounds, 22 projects were chosen for the BraunPrize exhibition, which debuted during the ceremony and will tour internationally. The 2009 catalogue of all awarded projects, including the winners of the BraunPrize Mexico and China, is also available.


    More pics and the winner after the jump...


    Posted by Robert Blinn  |  30 Jul 2009


    Anyone who thinks that minimalist or clean product design begins and ends with Jonathan Ive would be well served to check out the latest exhibit on Dieter Rams. Unfortunately, the exhibit in question was already held at the Suntory Museum in Osaka, Japan ... but the contents of the retrospective have also been catalogued in a book, Less and More available in limited numbers through the Cooper-Hewitt National Design Museum. Rather than working for Braun, Rams was Braun, since of the 1,272 products designed during his stay, "Rams, or teams in which Rams was a member, designed 514 of them." During that time, they crafted the design language for everything from stereo amplifiers to electric shavers, and much of that language remains applicable today.


    While the book's title Less and More nearly demands to be mistyped as Less is More, Rams himself explained his design approach as "Weniger, aber besser," which translates roughly to "Less, but Better," but the book remains indicative of its title. Consisting of nearly 800 pages (more), it has a nearly flimsy cover (less), that comes in a box (more) wrapped in a plastic wrapper (much more). The book itself demanded to be treated delicately and the process of reading it felt more reverent than functional. That, however, is our only complaint. The interior of the book alternates between thick pages with juicy product shots and dense essays written in Japanese and English on diaphanous paper. The essays do a nice job of describing the circumstances by which the young Rams wound up working at Braun a scant two years before Braun's products made a splash at the 11th Milan Triennial and wound up the MoMA's permanent collection shortly thereafter, but as befits any designer, the pictures of his products tell the story just as clearly.



    Posted by core jr  |  16 Dec 2008  |  Comments (1)


    As part of Core77's photo competition with Braun, we present periodic highlights from some of the best, most inspiring images. Make sure to visit www.core77.com/braunprize2009 to vote on your favorites, and enter your own inspiring photographs right here.

    Balazs Szabo, Hungary

    John Moss, Canada
    Corner Post

    Mia Ferrera Wiesenthal, United States
    Big Sur
    (Digital photo shot through a broken cell phone camera lens)