Autovox Linea 1 TV

Television Linea 1
Designed by Rodolfo Bonetto in 1969
Vintage, out of production.

The "Space Age" design trend was extremely popular in Europe between the years 1968 and 1972. "Space Age" design featured rounded forms and either pure-white or beautiful vibrant contrasting colors. The material of choice was either plastic or fiberglass. Many of these objects are much more attractive compared the ones which are available nowadays.

Make sure to click on the blog labels below to see similar items of interest.

Joe Colombo Sormani Seating

Joe Colombo
Seating System designed for Sormani, Italy 1967.
Vintage, out of production.

Joe Colombo’s innovative Space Age Additional-System seating utilizes various sized cushions connected by pins; the cushions can be arranged in various configurations. This is a rare example which is no longer in production.

Cesare (known as Joe) Colombo was born in Milan in 1930. Essentially self-taught, he attended the Academy in Brera and then the faculty of Architecture at the Politecnico in Milan for a few years. Before becoming a designer he worked as a painter, builder, car salesman (his passion for cars remained with him) and entrepreneur in the electrics field.

The technological utopia of Joe Colombo’s designs encompasses many of the hopes of the Sixties in Italy and Europe without becoming imprisoned by ideological restraints.

Here are a few of the most significant milestones in his extremely rapid escalation to designer of international renown, the symbol of an era.

In 1963 he opened his first studio in Milan.
In 1964 he won 3 medals at the “XII Triennale” in Milan.
In 1967 the won the Gold Compass.
In 1968 he received his first International Design Award in Chicago.
In 1969 three of his objects were already part of the permanent collection at MOMA.

Joe Colombo died prematurely on 30th July 1971 on his 41st birthday.

"The possibilities presented by the extraordinary development of audiovisual processes are enormous…… Distances will no longer have much importance; no longer will there be any justification for the 'megalopolis'….Furnishings will disappear…the habitat will be everywhere... Now, if the elements necessary to human existence could be planned with the sole requirements of maneuverability and flexibility...,then we would create an inhabitable system that could be adapted to any situation in space and time..."

Joe Colombo

Available from:
Modern Design Auction at Wright20
October 6th 2009

Braun Hairdryer HLD 4

Hairdryer HLD 4
Designed by Dieter Rams in 1970
Vintage, out of production.

The "Space Age" design trend was extremely popular in Europe between the years 1968 and 1972. "Space Age" design featured rounded forms and either pure-white or beautiful vibrant contrasting colors. The material of choice was either plastic or fiberglass. Many of these objects are much more attractive compared the ones which are available nowadays.

During the years 1968 and 1972 Braun released a wonderful collection of home appliances of which the above Braun HLD 4 hairdryer is evidence. Please make sure to click on the labels on the bottom of this post to view more examples. We will continue to update this blog with new finds.

modern design interior is a modern design blog featuring modern design news on modern furniture, modern lighting, modern architecture and modern home decor. modern design interior is the premier modern design blog reporting on modern designs, modern designers, modern furniture, italian furniture, designer furniture, mid century modern design, space age design, fifties design, sixties design and seventies design, modern lighting, modern homes, modern architecture, modern architects, modern prefab, contemporary architecture, modern style, sixties fashion, mod fashion, modern art, modern home decor, modern interior design, modern home design, contemporary furniture, modern design ideas and much much more.

Rollergirl Roller Stop

Harry Allen: Roller Stop Door Stopper Chrome

Harry Allen's Roller Stop is a real show stopper. The Roller Stop was designed by Harry Allen for Areaware. The Roller Stop was cast from an actual 1970's roller skate. It is made with resin and marble. Harry Allen's Roller Stop will hold any door in a grand way. It is also great as a bookend, paperweight or sculpture. It is a very decorative design object which will certainly compliment your home decor. Get it for yourself or for your favorite Rollergirl or Rollerboy.

Harry Allen is an award-winning interior and industrial designer. Harry Allen designed a number of successful retail interiors throughout the United States and Asia. As a product designer he has worked for a very impressive group of clients, and received numerous awards. Harry Allen created several items for Areaware including the Hand Hook, Peanut Bowl, Roller Stop and Pig Bank.

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Braun Minimal Industrial Design Icons

Dieter Rams, pictured on left.
With Braun Stereo System Combination in background.
Designed by Hans Gugelot and Dieter Rams, 1958.

Braun Stereo System Combination
Designed by Hans Gugelot and Dieter Rams, 1958.

Braun Stereo System Combination
Designed by Hans Gugelot and Dieter Rams, 1958.

Braun SK 5 Turntable
Designed by Hans Gugelot and Dieter Rams, 1958.

Braun ET 648 Calculator
Designed by Dietrich Lubs and Dieter Rams

More vintage electronics from Braun and other brands can be found when you click on the labels on the bottom of this post.

Some more minimal industrial design icons from Braun. Most designed by Dieter Rams, Hans Gugelot and Dietrich Lubs in Germany between the 1950's and late 1970's. All these products are unfortunately no longer available. Braun was bought by Gillette and subsequently taken over by Proctor & Gamble. Proctor & Gamble phased out the entire Braun line in 2005.

An interesting interview with Dieter Rams conducted by Gerrit Terstiege at Vitra:

Gerrit Terstiege: Mr Rams, as you look back, do you now regret that when you worked as a designer, computers weren't able to do all the things that they can do now?

Dieter Rams: Yes – and no. Yes, inasmuch as computers make networking so much easier. But there's often a lot of fooling around with computer renderings and it's wonderfully easy to gloss over any problem areas. I have always detested them and fought against them. Most of my drawings and sketches were intuitively true to scale and with all abstractions were able to be converted from the modelling without any problems. They may well have been less exact but they did show exactly what I wanted. I have worked a lot with sketches.

GT: How did you actually discover your particular style of drawing?

DR: I had a good drawing teacher at the Werkkunstschule in Wiesbaden, called Mr. Rotfuchs. He was a lecturer in illustration and as we were prospective architects our routine regularly included figure drawings. When I began to shade in areas using fine parallel lines – something that everyone does who starts freehand drawing – Mr. Rotfuchs said to me: "Stop that nonsense. Just draw the line a bit thicker and you will get three-dimensionality too!" Basically, my manner of representation is based on simple line drawing.

GT: New products usually involve teamwork because design and technology ultimately have to go hand in hand. How was the development process structured at Braun when you were in charge? How did you go about finding a new form for a particular item?

DR: If I think of my earlier years at Braun, which was during the mid fifties, I can recall many problems that arose out of a lack of cooperation between designers and technicians. Back then, the forms and possibilities of working together still had to be explored and developed.

GT: An example?

DR: When Hans Gugelot of the Ulm School of Design was at the Braun works in Frankfurt he talked to brothers Erwin and Arthur Braun, who owned the business and who, along with Dr. Eichler, were responsible for strategic design. So Gugelot's discussions were at a level that had nothing to do with the technical side of product development. This could only go well as long as they were merely discussing redesign – new shells for existing technology. But, as we know, this was not what Gugelot had in mind – he wanted to follow a different path altogether. He was unhappy about the fact that the first items he reworked were more promising on the outside than they were on the inside. This deficiency simply had to be rectified. Erwin Braun quickly came to the conclusion that at Braun design had to be done in-house!

GT: And then, in 1955, your time came as it were – for in the beginning you weren't appointed as a designer but as an architect.

DR: That's correct. One of my first jobs in the design department was to harmonise the relationship between the designers and the technicians and so build up trust. There was certainly no form to the design process; for example, as yet there were no briefings. Later on we created teams consisting of designers, marketing people and technicians who, from the start, all worked together on a product. Such a framework does have a huge effect on the design process. The design projects then followed the tasks set by each of the individual areas – whether it be hi-fi, body care, health care etc. There was a business director who was at the same level as the technical director and the design director. Thank goodness I was the only one who reported directly to the chairman of the board. This gave me a boost.

GT: When did this type of structure become firmly established at Braun?

DR: It happened during the seventies. The steadily increasing sales meant that we had to design products for international markets and this involved working on several products at the same time. One could say that globalisation started very early at Braun. And also because of the assistance we got from Gillette AG, which Braun had taken over in 1967.

GT: Was there any product which really gave you headaches during the development stages?

DR: Oh yes, the Atelier stereo system that Braun offered as the "Last Edition" and which heralded the end of the hi-fi era was one of these without a doubt. On several occasions I visited Japan with our technicians because Japanese firms were putting the insides into the components. The tuner came from one firm, the amplifier from another and yet another company provided the technology for the record player. Luckily they were all in Tokyo but I couldn't imagine how everything would fit together at the finish. Some of the Japanese firms in turn even had parts produced in Singapore, which didn't make things any easier. But, in the end it did all come together.

GT: And in the mid-fifties when Braun design was born, did you just straightaway start designing something?

DR: Not quite. However, in those years Braun simply didn't have a development process that anyone could understand. A lot of things were done for emotional reasons and based on particular circumstances at the time, while keeping the firm's production capabilities etcetera in mind. And then an idea would crop up here and other one there. Personally, I always greatly appreciated it when I did come across a technical innovation.

GT: It is surprising to hear you use the word "emotional" in this context. How then was the decision made to develop such a complex and expensive piece of equipment as the World Receiver T 1000 during the early sixties? That was surely no gut decision.

DR: On one hand the first small portable radios quickly became the object of competition. The Japanese rapidly adapted transistor technology and then put similar small appliances on the market. We couldn't keep up with them. However, on the other hand transistor technology offered opportunities that we wanted to take. So we decided that we'd make a world receiver of such quality and makeup so as to be harder to copy. Such considerations certainly did play a part – but just not the strategies of the marketing team. By the way, when at the end of the seventies the marketing team at Olivetti got the upper hand, Ettore Sottsass left the company and addressed himself to free designing and experimentation, which then resulted in the formation of Memphis. But doing this was easier for him as he was never a permanent employee at Olivetti. It was different with me. You could also say that I just approached things differently.

GT: At that time, in around 1980, you had been employed there for 25 years and as head of design you managed a large team. It would have been unthinkable for you to have suddenly walked away to begin painting vases for exhibition in galleries ... However, how was it actually possible for marketing to have become so important at Braun? After all, you and your design team showed that you could develop outstanding products even without any input from marketing.

DR: This always had to do with the ever-increasing quantities that had to be produced. And with the fact that more complex production technology also necessitated huge investments in toolmaking and production facilities. Marketing gained in importance at the end of the seventies as it was responsible for ensuring competitiveness and a return on investment.

GT: You began to watch your competitors more closely.

DR: Not only that, but design and technical innovations suddenly became more difficult as they always carry risks and these especially include economic risks. At a certain point fully automated production became essential as we couldn't produce sufficient quantities without it. Such extensive production lines were masterpieces in themselves but they now required so much investment that we had to ask ourselves when we would get the money back that we were putting into any particular facility. This meant that the firm became less and less willing to risk giving new ideas the green light.

GT: In recent years a large number of photos and drawings of Braun products have come to light that were never produced. For example, it was only decades later that we heard that during the early sixties someone in the firm had thought about making a portable television with a shape related to that of the T1000. Why was this never carried out?

DR: Even back then we believed that we'd not be able to sell enough television sets that small. Brionvega and others later proved that portable TVs can be very successfully marketed. But the reason for the actual problem may be that no one wants to admit that at some point they have reached the end of the line. Yet you can't always be making a new shaver or a new coffee machine unless you come up with a real innovation – and here I'm not talking about tinkering with the shape or the colour. And then people think that this will increase sales a bit more. They're dreaming! Yet for all this it seems as if most managers still believe that just having a sheer mass of products on the market achieves something. Right now, that is the problem with the car industry. They have been shoving more and more cars onto the market yet it is obvious that the markets have long been saturated. And yet these are precisely the development programme targets being set by the design divisions of larger companies. But I still maintain that the way is to produce less, but better.

Dieter Rams, born in Wiesbaden in 1932, was Braun's head designer from 1961 to 1995. His many outstanding designs have influenced generations of designers and have been recognised in many exhibitions and publications. He lives in Kronberg / Taunus.

Braun Travel Alarm Clock

The AB1 travel alarm clock is an icon of modern industrial design. This iconic travel alarm clock was designed in 1971 and updated in 1987. Dietrich Lubs designed this now iconic clock for Braun, while Dieter Rams was Head of Design for the company. This super compact Braun alarm clock is the perfect travel alarm clock since it stands only 2.5" tall. While primarily used as a travel clock, this clock also works very nicely on the desk. The Braun AB1A Quartz travel alarm clock features an interval alarm signal and a quiet quartz mechanism. The alarm switch is large and easily operated. Like most of the world's best timepieces the AB1A operates in the analog domain with a sweep second hand. One AA battery will last over one year (not included).

Braun was one of the world's most commercially successful design firms in the post-war years through to the end of the 1980's. Born out of a garage in 1921, Braun made radio parts and diversified using rapidly developing technology. With an impressive design team including Dieter Rams (German, born 1932) and Dietrich Lubs (German, born 1938), Braun's reputation as a maker of innovative small appliances sky-rocketed: electric shavers, hair dryers, travel alarm clocks, digital watches, pocket calculators, stereo equipment. However with Braun's acquisition by Gillette and subsequently by Proctor & Gamble, the once prevalent line of Rams and Lubs products became obsolete in 2005 as Braun focused on shaving tools. The AB1 clock, shown here, a long-lived design, is a reliable, user-friendly, ever popular alarm clock. We were able to find some limited stock so get yours while you can, supplies are limited.

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Eero Aarnio Puppy

Eero Aarnio: Aarnio Puppy Abstract Dog
Magis, Italy.

The Eero Aarnio Puppy is a beautiful, original and fun modern design object! Puppy was designed by Eero Aarnio for Magis in Italy. The whimsical puppy dog can be used for a variety of uses, only limited by your own imagination, since it is highly decorative. Is it a sculpture, toy or stool? You decide! The Eero Aarnio Puppy dog can be used indoor or outdoors.

Produced in tough rotationally molded, hollow plastic Puppy is available in FOUR sizes: small, medium, large & NEW EXTRA LARGE ADULT VERSION!!! - in white, green or NEW ORANGE color! Eero Aarnio's Puppy is now also available in fluorescent.

The Finnish designer Eero Aarnio (b.1932) is one of the great innovators of modern furniture design. In the 1960s, Eero Aarnio began experimenting with plastics, vivid colors and organic forms, breaking away from traditional design conventions. His now iconic plastic creations include the Ball (1963), the Pastil (1968), and the Bubble (1968) chairs which echo the pop culture and spirit of their time. Many of Aarnio's works are included in the world's most prestigious museums, including Victoria and Albert Museum in London, MoMA in New York and Vitra Design Museum in Weil am Rhein.

Eero Aarnio Puppy available from:

Wall Organizer Centipede

Centipede Multipurpose Wall Organizer

In our search for functional modern design objects which can be used on a daily basis, we came across the attractive Centipede wall organizer which was designed by Adam and Harborth in Germany. This super functional multipurpose wall organizer is a perfect organizing tool to store and organize invitations, invoices, business cards, ideas, photographs, passport photos and perhaps even love letters. This modern wall organizer combines functionalism and design into an attractive functional object for daily use. This wall organizer is perfect for both the office or at home where it can be used as a savvy way to unclutter your desk. This wall organizer is a great alternative to a regular desk organizer since it will not take up any valuable desktop space. The Centipede wall organizer is presented in a gift box and makes a great unique gift.

Centipede has a maple body with 100 natural brushes which firmly hold documents in place. Centipede is covered with a layer of anodized aluminum. Easy mounting instructions included.

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Moooi Rabbit Lamp

Moooi's Rabbit Lamp will turn heads wherever it is placed! The exceptionally gorgeous and unique Rabbit Lamp is funny and functional at the same time. The Rabbit Lamp was created by the Dutch design house Moooi which is based in the Netherlands. Moooi is serious about quality and style and the have spearheaded a design trend that injects a unique Dutch style into modern design.

The Rabbit lamp is one of a three piece collection of animal furniture which also includes a life-sized horse lamp and a pig table. Moooi's Rabbit Lamp his is the perfect urban pet, it requires no upkeep and you may pet it any time you want!


Numbers LED Clock Alarm by Jonas Damon

Numbers LED Clock in Black with red LED numbers

We love functional design objects and these minimal modern alarm clocks are really perfect. Looking for a unique and functional gift idea for yourself or your loved ones? Alarm clocks are part of daily life so pick one you will actually love! The Numbers LED Clock is a super modern alarm clock made up of four cubes. Each cube features a single LED number. When the cubes are put in the correct order, it tells the time. By separating the digits, the clock allows you to angle and place the cubes how you can read them best, all while making quite a statement in the bedroom or office. They can even be stacked on top of each other. The dimensions of each cube is 1.5 inch width by 2 inch height.

Installation with Numbers LED Clock in Black with white LED numbers

The Numbers LED Clock is an alarm clock consisting of four 2 inch tall cubes. Each cube displays one glowing LED digit to make up the time display. Unlike static boxes usually associated with alarm clocks, this interactive collection of changing numbers can be arranged in any configuration. The Numbers LED Clock is a very decorative and functional design object which will certainly compliment your home decor.
Perfect for the bedroom since it produces no ticking sounds.

Numbers LED Clock in Black with white LED numbers

Numbers LED Clock in Orange with white LED numbers

Numbers LED Clock in Red with white LED numbers

Alarm with snooze.
Adjustable LED brightness.
Time memory during power outages.

Size: 2" height x 1.5" depth x 8" length
Material: ABS, RoHS Compliant Electronics

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Mod Fashion

Twiggy, the eternal star of mod fashion.

A Pierre Cardin fashion parade at the Canberra Theatre Centre, 1967.

The Great Barrier Reef was the inspiration for this boldly colored and geometric patterned summer dress, 1972.

A striking campaign developed for the Australian Wool Corporation, 1971–72.

Young, trendy and decadent – tailored suits for men designed by Mike Treloar for the Australian Wool Board's Golden Ram Awards, 1971.

Stepping out in style – urban wool fashions and heart-shaped sunglasses for tweens, 1971.

Shades of pink – fashions for a sunny winter's day. Photographed for Woman's Day,
circa 1966–71.

Dressed in the latest winter wool fashions, a Danish model poses for an Australian Wool Board fashion shoot later exhibited at the Royal Show, 1968.

'Angels in orbit' – a fashion shoot of space-age inspired garments just in time for the moon landing, 1969. This photograph dates back to 1969. It was shot on location in Canberra, Australia. This photograph was found at the National Archives of Australia.
Explore the world of fashion in the 1960s and 70s, when trendsetters created a fashion revolution with a mix of miniskirts, space-aged garments and 'granny' dresses. Posed fashion shots sit alongside the exuberance of street culture, capturing the essence of a period when cultural change ruled. This showcase includes comments by Lee Lin Chin and accompanies the Australian National Archives exhibition.

Architecture in Japan

Shell House by ARTechnic Architects
Pretty impressive example of modern architecture won't you say?

ARTechnic Architects
Shell House in Kitasaku Nagano Japan

The Shell House is a fantastic modern home which was designed by Kotaro Ide for Artechnic Architects in Japan. Kotaro Ide was born in Tokyo in 1965 and he received a degree in architecture in 1989 from the Musashino Art University in Tokyo. After collaborating with Ken Yokogawa Architects and Associates, he opened his own studio ARTechnic architects in 1984. The Shell House is located in Kitasaku, Nagano, Japan. Artechnic has a strong belief in the ability of architecture to enrich daily life. Artechnic aspires to improve the quality of life and the environment through innovation and design excellence.
For most Japanese, having a house in the mountain town of Karuizawa, 100 miles northwest of Tokyo, symbolizes attaining the good life. When the Kunimoto family asked architect Kotaro Ide to design a ground-up vacation house in the tony summer resort, he saw an opportunity to reexamine the area's unique environment and devise an updated version of the residential structures that have prevailed there over the last century.

"Karuizawa is damp," explains Ide, principal of the firm Artechnic. "I've walked into friends houses there and immediately noticed a smell that hovered on the verge of mold." Traditional Karuizawa retreats—flat, clapboard structures—were popular 100 years ago, when Japan had a strong noble class. But, as Ide is quick to point out, "They only make sense if you have staff to maintain them throughout the year." English-style houses with shingled roofs and gabled windows became the norm in the 1920's on, but they fare just as poorly in the moist environment. They dot the mountainside in various states of repair, from shiny new to moldering decay. "People visiting their house for a weekend spend a whole day cleaning and airing it out," Ide continues. "I didn't want my clients to have to deal with that kind of maintenance," he says of the Kunimotos, a married couple with two young children, who live in Tokyo year-round.

Just a cursory glance at Ide's house reveals that it's nothing like its predecessors—in Karuizawa or elsewhere, for that matter. His original design called for a structure that curved in three dimensions, like a U-shape tube. But building costs would've been prohibitively expensive. Ide simplified his concept into a more easily built form that's curved in just two dimensions, still tubular, but with no bend.

The house, which is nearly 3,600 square feet in size, looks like two enormous slices of jelly roll laid end-to-end; the rear, two-level section is larger in circumference, jutting out from behind its smaller, one-level companion. A semicircular indentation where the two pieces meet looks as if a giant bite has been taken out of the side of the architectural confection. Lining this concavity, a continuous wall of floor-to-ceiling glazing curves around a terraced wood deck with a towering fir at its center. (No trees were felled in building the house.)

The formal entrance is at the back of the house, in the two-story portion, which contains the private quarters—the master suite downstairs, three additional bedrooms and a bathroom upstairs. Also downstairs is the foyer and an airy hallway that connects to the single-level public space at the front of the house, an open-plan great room comprising the kitchen and living and dining areas. Both the master suite and the great room open onto the central circular deck.

"Design has to be accompanied by logic, function, and reason," says Ide, although this house appears quite whimsical. "Its shape came out of the idea of a cave as a natural form of shelter." And it is indeed cavelike, thanks in part to its shell of concrete, a material Ide chose specifically for its ability to handle damp conditions. The architect also raised the structure several feet off the ground to further guard against water damage. Inside, the predominant material is wood, including teak and ulin, a rich Indonesian species, selected for its visual warmth and easy upkeep. As for the surface of the concrete interior walls and ceiling, Ide treated it with insulating layers of urethane foam and vermiculite, creating an unusual finish that appears soft and spongy, but is actually hard and nubbly.

Given the house's unusual shape it's not surprising that the architect custom designed all the windows and skylights, framed in a steel-aluminum alloy, as well as all the built-in furnishings. And we're not just talking kitchen countertops (rendered in light-gray Corian) and seating (upholstered in stone-colored linen). Ide also brought his ambitious hand to the master bathroom's shiny circular tub and light-boxlike medicine cabinet; the central deck, also ulin; and even the HVAC system.

In fact, Ide saw the HVAC as integral to both client comfort and ease of maintenance. The site-specific system rests in a crawl space under the floor—"A little like an airplane," he notes—drawing in clean air through louvers under the central deck and expelling stale air through vents at the front and back of the house, away from areas where people congregate. The system keeps water pipes from freezing in winter, counteracts the chill that tends to exist in spaces with tall windows and ceilings, and avoids having to perforate the continuous curve of the concrete shell with unsightly vents. While the magical shape of this house and its no less magical woodland setting have created the sought-after refuge from city life for the Kunimoto family, Ide's refinement of comfort is an equally real feat of design.

Wonderful how the architect balanced the house with the external landscape.

modern design interior is a modern design blog featuring modern design news on modern furniture, modern lighting, modern architecture and modern home decor. modern design interior is the premier modern design blog reporting on modern designs, modern designers, modern furniture, italian furniture, designer furniture, mid century modern design, space age design, fifties design, sixties design and seventies design, modern lighting, modern homes, modern architecture, modern architects, modern prefab, contemporary architecture, modern style, sixties fashion, mod fashion, modern art, modern home decor, modern interior design, modern home design, contemporary furniture, modern design ideas and much much more.