Braun G11 (Hans Gugelot, 1955). Gugelot was one of two designers Braun hired from the German design school HfG Ulm to establish a new design direction for the brand. (Rams wouldn’t take over Braun’s design department until 1961.)

Braun G12 (Hans Gugelot, 1955). Note the minimal wood casing. There’s none of the ornamentation seen in electronics up to this point.

Braun PK-G 5 (Hans Gugelot, 1960). The designs were inspired by functionalism, the philosophy that design should reflect the device’s use.

Braun SK 4 phonosuper, tight crop (Hans Gugelot + Dieter Rams, 1956). The most significant design of early Braun, and the most collectible artifact from the era. Amidst functional design breakthroughs like vents punctured right into the metal, it was the first turntable with an acrylic hood--an idea of Rams’s that Gugelot worried was showy--which then became an industry standard.

Braun SK 61 phonosuper (Hans Gugelot + Dieter Rams, 1961). A better view of the SK series phonosupers.

Braun Studio Studio 2: Braun CE 11, CV 11, CS 11 (Dieter Rams, 1959). The unapologetic, earnest materials were a hallmark of functionalism. So much metal balked in the face of living-room-friendly wood trends.

Braun Atelier 3/Braun L 20 (Dieter Rams, 1962). For Braun, audio equipment was essentially a loss leader item for the brand.

Braun Audio 1 / Braun L 60-4 (Dieter Rams, 1962/1964). When Gillette purchased the company with worldwide razor domination in mind, audio took a backseat.

Braun PS 2 (Dieter Rams, 1963). One of countless elegant turntables produced by Braun in the midcentury.

Braun T 1000 (Dieter Rams, 1964). This design is straight out of a James Bond flick.

It folds up into a sleek briefcase.

Braun TG 60 (Dieter Rams, 1965). A gorgeous metal reel-to-reel tape deck that ultimately inspired Apple’s skeuomorphic podcasting UI on the iPhone.

Braun Lectron System (Dieter Rams/Jurgen Greubel, 1967). This understatedly fashionable electronic was a radio hobby set!

Braun L 460 (Arne Jacobsen, 1967). These minimal wall-mounted speakers would be at home in any home theater system today.

Braun HL 1 multiwind (HL 1 Multiwind Reinhold Weiss, 1961). A quirky desktop fan design by one of the unsung design talents contributing to the golden age of Braun, and just a few hundred bucks on the collectors market.


An Online Retrospective Shows Why Braun Still Matters

Das Programm is a digital catalog of gadgets by the likes of the legendary Dieter Rams. And if you really like something, you can make it a part of your own collection.

I’ve always adored the Braun TG 60 reel-to-reel tape recorder. Its lines and materials are pure machine—there is no wood paneling to mask its industrial bias—but its buttons make the slightest of concessions by subtly curving for human fingers. Each component on the TG 60 is placed with so much intent, as if its aesthetics were dictated as much by visual balance as underlying engineering. Some Apple designers are fans of TG 60 as well. They went so far as to skin their podcast app with TG 60 controls.

Of course, the TG 60 is only one of many, many classic Braun designs that you can see over at what very well may be the most extensive database on the topic in the world, Das Programm. Academic and researcher Dr. Peter Kapos runs the online museum and store, which grew out of his own obsession with Braun.

"Part of what’s distinctive about our offering is that it is premium quality, and all in one place," Kapos explains. "Unfortunately for my family, that place is our home. I have boys of four and seven who have learnt not to touch anything made in Germany."

Naturally, the collection focuses on Braun’s golden age of the mid-'50s to the late '60s, when Otl Aicher and Hans Gugelot, from the legendary design school HfG Ulm—and later, Dieter Rams—redefined the world of industrial design through the modernist ideal of functionalism, the philosophy that design should stem directly from purpose. (It was basically Bauhaus philosophy applied to the field of industrial design, and in fact, many Bauhaus greats actually lectured at HfG Ulm.) At Das Programm, you can scan through beautiful photos of Braun icons like the SK phonosuper, the Gugelot design and most popular vintage Braun collectible that questioned the very nature of audio equipment.

As Kapos writes on the site:

Until then, radiograms concealed their technical origin beneath folds of varnished wood and panels of fabric interwoven with gold, betraying a deep ambivalence about industrial technology. The SK phonosuper exulted its productive possibilities. Accordingly, the device’s constructive principle aimed at a complete disclosure of its industrial origin. The corpus was formed from one piece of sheet steel, bent four times on a tight radius along a single axis to preserve its flatness. Grills of pierced slot openings exposed the sheet’s gauge. Users, for their part, were addressed not as fearful fantasists but as operators whose needs in relation to the object stemmed from their practical engagement with it. Ornamentation was dispensed with; controls were rationally set out in an immediately comprehensible operational hierarchy.

These artifacts are mostly quite expensive, quickly reaching the $1,000+ mark. As an alternative, Kapos recommends considering work from the "somewhat overlooked" Braun household designer Reinhold Weiss, whose unique Braun HL 1 Multiwind table fan exudes charm and understated elegance, yet runs just a few hundred bucks.

One question I’ve always had about Braun, however, is simply: What happened? Why is the midcentury so collectibly iconic compared with years later, especially since Rams stuck around for over 30 years and ran a very respected design department (with products from the '70s and '80s that are incredible in their own right). For this, Kapos has a very reasonable explanation:

"In '68 the Gillette Company acquired a controlling share in Braun," Kapos explains. "They bought with the idea of controlling the global shaving market. They really weren’t interested in audio, which Braun operated as a prestigious loss leader. So, they put a stop to the adventure. Post '68 Braun Design remained very good, of course. But it became focused in particular designs, as opposed to existing across the entire program."

There is, of course, another explanation of our obsession with midcentury German design—one that’s deeply culturally significant. Following the horrors of World War II, the mere acts of crafting beautiful record players and speakers enabled Germany to lift itself out of a wartime economy and mentality. And if you can believe in this idea, then you can believe that a Braun SK4 isn’t just a beautiful record player that embraces its technological roots. It’s the tangible result of the world giving Germany a second chance through the Marshall Plan, and proof that the country’s talented designers and engineers could craft inventions that delighted humanity rather than destroyed it.

"I think these objects offer hope, an image of a world that in many ways is better than the existing one," Kapos writes. "This was the original purpose of functionalism."

Explore the database here.

Add New Comment


  • Don McMahan

    Beautiful, but how did they sound? I am an audiophile of a certain age and can't honestly say that Braun is a name I associate with HiFi

  • Anthony Reardon

    TG 60- who would "not" want one of those?! I love this modernist design ideal of functionalism. It attracts me even without the purpose, because the design statement itself is beautiful. Of course, I agree with the principle and would normally see to it that it worked, but I would want it even if it didn't.

    Might be giving away my age, but that reminds me of my original Walkman. I guess you had to be there, but there was something about the bold functional design that implied it was powerful in its purpose, which it was. To be honest, I haven't seen a single mobile music device, phone, tablet, or laptop that I've ever wanted as much as my old Walkman. Something of that romantic appreciation for brute power and intimidating technology is missing.

    Best, Anthony

  • ZanzibarJoe

    It's a crying shame what P&G did to Braun in the U.S.  P&G bought Gillette in 2005, which owned Braun.  Then in 2008 they axed the entire U.S. line of small appliances, with exception to electric razors and toothbrushes.  But the death of Braun's audio/hi-fi was at the hand of Gillette and took place in the early 1980's. Competition at it's worst.