Dieter Rams

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You don’t have to read too much between the lines to understand that Braun design legend Dieter Rams, in his dotage, maybe regrets devoting his life to the field despite being so brilliant at it. I don’t think that’s such an unusual reaction to being on the wrong side of aging, no matter the accomplishments. Three excerpts follow from Gary Hustwit’s Fast Company Q&A with Rams.

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Question:

How has design changed in the last 50 years?

Dieter Rams:

What I am especially bothered by today is that, particularly in the media, design is being used as a ‘lifestyle asset.’ I’m bothered by the arbitrariness and the thoughtlessness with which many things are produced and brought to the market. There are so many unnecessary things we produce, not only in the sector of consumer goods, but also in architecture, in advertising. We have too many unnecessary things everywhere. And I would even go as far as to describe this as inhumane. That is the situation today. But actually, it has always been a problem.

We need to deal with our resources differently, in terms of how we waste things. We have to move away from the throwaway habit. Things can, and must, last longer. They must be designed so that they can be reused. We need to take more care of our environment. That means not only our personal environment but also our cities and our resources. That is the future of design, to take more care of these basic elements. Otherwise I’m not sure what the future of our planet will be. So designers have to take on that responsibility, and to do so we need more support from government. We need political support to solve the problems with our environment and how we should shape our cities. As designers, we shouldn’t be doing this for ourselves, but for our community. And the community needs support, not only to interact with each other democratically, but it also needs support to live democratically.

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Question:

If you were to design a computer now, what would it look like?

Dieter Rams:

It would look like one of Apple’s products. In many magazines, or on the Internet, people compare Apple products to things which I designed, with this or that transistor radio from 1965 or 1955. In terms of aesthetics, I think their designs are brilliant. I don’t consider it an imitation. I take it as a compliment.

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Question:

Is there anything else you’d like to talk about that we haven’t covered so far?

Dieter Rams:

Well, I’m not very active in the design field anymore. I have only a few things to do, mainly in the furniture sector, because I have certain commitments. But I am still very interested in what’s happening, and it is my wish that we really do deal with our surroundings more consciously in the future. That is really my wish, because I believe it contributes to living with one another more peacefully. That’s why, if I had something to do in this world again, I would not want to be a designer. Because I believe, in the future, it will be less important to have many things and more important to exercise care about where and how we live.•

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A scene from Objectified, 2009.

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Edwin Heathcote of the Financial Times isn’t very high on the new book about Apple designer Jony Ive, noting that seamlessness makes for beautiful products but ineffable biographical subjects. An excerpt from his new review:

“As Kubrick’s filmic anticipation of the iPad makes clear, Ive’s devices have been imagined before. Think of Ettore Sottsass, the Italian who made Olivetti the Apple of its time, designing typewriters and early computers with flair. Or Dieter Rams, the German designer whose products for Braun defined the company and are among the most beautiful products of the 20th century (and whose designs profoundly influenced Ive, even down to the rounded corners). Ive is far from unique as a designer who is synonymous with his company. What is new is the ubiquity of the products and the way they have insinuated themselves into every aspect of our lives.

Apple’s products are so beautifully and mysteriously constructed (where are the joints and bolts?) that they somehow mirror the obsessiveness of this secretive corporation. All of which makes them difficult to write about. Arguably what is most interesting is why they have become such a success, the social, political, aesthetic and cultural context which they have slotted into – or remade. And why have other companies not managed to emulate Apple’s design-led model?”

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