All language subtitles for Rams.2018.1080p.WEBRip.x264.AAC-[YTS.MX]

Downloaded from
YTS.MX

[Nature sounds, birds chirping]

Official YIFY movies site:
YTS.MX

[Nature sounds, birds chirping]

[Typerwriter typing]

♪

[Bells ring, street sounds]

[Crowd murmuring]

[Applause]

[Crowd laughter]

[Applause]

♪

Dieter started designing in
the early 50s.

It was after the war, after
enormous upheaval.

It was also a time of great
precariousness, in a way.

And a great change, and people
wanting change. And change
happening technologically.

I'm trying to think, "Why is
he so interesting for people
now?"

And I think maybe there is
also a kind of precarious
phase that we're going
through.

Also of great technological
change, also of great social
change.

Dieter met Ingeborg when he
was at Braun. She was a
photographer working in the
photography department.

They're a very private couple.

They're not out in the
limelight, they're not out
together at the big red carpet
do's.

They've been together for over
50 years, the two of them.
It's quite lovely, actually.

He keeps himself in a very
tranquil bubble.

I mean, he's lived in the same
house for almost... 50 years?

You know, he hasn't moved.

You know, he gives talks, he
gives lectures, he travels,
there's shows about his work.

He talks to people, he's very
generous with his time.

But he doesn't have hobbies.

His work is his life, his
life's his work. And he's not
really interested in anything
else.

♪

♪

Something that's not actually
talked about much is that
design is also politics.

Although they didn't really
talk about it in that way,

him and his fellow students
were very passionate about
creating a world that was a
better place.

And much more democratic.

You know, they'd just come out
of the shadow of this terrible
time in history,

and there was a lot of talk
about design to give people
freedom.

♪ Ad jingle ♪

♪

There was huge change going on.
It was about rebuilding Germany,

it was about rethinking who
people were, what they were,
how they were living.

I think that's very much where
he got this sort of much more
social attitude to design.

And a lot of that thinking
came from Ulm.

Ulm School was set up after
the war in the '50s.

The follower from Bauhaus.

Even more kind of restrained
and puritan in a way.

So functional, so reduced.

The Braun Brothers connected
with the Hochschule fuür
Gestaltung in Ulm.

They were exploring the
possibilities through
electrical objects in the
home.

Electrical appliances in
the home.

And Rams came into that world

bringing his experience into
this new way in which
electronic objects were
changing.

The designers from Ulm that he
worked with originally at
Braun

were very into this modular
feeling, these clean lines,
this taking away.

Dieter picked it up very
quickly and then made it his
own very quickly as well.

The SK 4 was a turning point
in design.

And it was especially a
turning point for Braun.

Radios were a kind of
furniture at this time

and Braun's designers wanted to
get away from the furniture.

The first SK 4 sketches were
made by Dieter

with a wooden case, with a
record player on the top and a
radio on the top.

But this really didn't work.

So they asked Gugelot if he
can find a solution.

He was one of the very
important designers of the
mid-century,

so he had a good relationship
to Erwin and Artur.

And Gugelot very quickly found
a solution to make it with
metal,

fully in metal, with wooden
parts on the left and right
sides.

And the last problem was how
to cover it, on the top.

So first they made a metal
one, but this didn't work.

♪
Radio plays Opera ♪

Because it was a clear lid,
that allowed them to put all
of the controls on top.

Whereas previously they had
been on the front, now they
could be on top

and seen through the lid for
the first time.

♪Jazz

♪Jazz

Were there any women in the
design department?

♪ Turntable plays jazz ♪

♪

Actually I have seen this
product's photo, but I have
never touched.

So... very good.

♪ 1970s Euro-jazz ♪

There's a reason that Erwin
Braun pushed Rams forward and
put him in the limelight for
his designs.

He looks the part, he's super
photogenic.

But there's this fixation that
the press tends to do of
saying

that all responsible,
utilitarian, reduced design is
Dieter Rams.

And it's not. And he keeps
saying it!

A lot of his designs are
co-designs.

A lot of stuff that's
attributed to him was actually
done by other members of his
team, but

people just want to put one
face, one name to this whole
aesthetic and this whole
design position.

♪
♪

You talk to anybody who grew
up between the '50s and, say,
the '90s

Just about anyone will
remember having a Braun
product of some kind.

Whether it was the hair dryer
or their father's razor or the
coffee machine.

But you know I when I first
encountered Rams' work, I
found it very difficult, very
masculine.

It's quite clinical in a way.

It was not until I went to
visit him at his house,

and there I saw him living
with all his products.

I began to really appreciate
and really understand the
skill involved with them and
the quality.

There was this idea that
domestic appliances are there
to serve the user.

Therefore it had to stay in
the background.

It mustn't push to the front,
it mustn't insist on it's own
presence.

It just had to do its job and
be out of the way.

And that was absolutely
fundamental to the 10
Principles.

♪
♪
[Typewriter typing]

♪

♪
♪

In the 1950s, Rams was at a
trade exhibition and is
introduced

by Otto Zapf, a furniture maker

to this Danish guy called
Niels Vitsoe.

Over the next couple of years,
they develop the ideas

so that in 1959 Vitsoe was
formed.

As they're developing these
ideas, Rams realizes that he's
moonlighting on the side

from his full-time employment
at Braun.

That he has to go to Erwin
Braun and say, "Well, can I
continue doing this work in
any formal way?"

[Machinery whirs]

I had just graduated, moving
into my first flat.

I read about a shop that had
just opened on the West End.

One day I walked in and they
were installing on the wall a
black shelving system.

The owner explained to me that
it was designed by this guy
called Dieter Rams.

I went "Oh, hang on. Well,
I've got a Braun alarm clock
and a Braun razor."

So when he mentioned the name
Rams, it just rang half a
bell.

About a week later he said,
"Well, would you like to come
and work with us?"

And that was where it all
started.

[sounds of furniture assembly]

Nice to meet you again.

♪

But I like this. And children
like it, too.

And I like the feeling. It's
very good. It's very...

Compliments to all of you.

We probably have one or two of
the original Rams

back catalogue that we would
like to put back into
production.

The one that, personally, I
have always felt we should
bring back from the early '60s
was this chair called 601.

A very simple outline profile
with a T shaped aluminum leg.

I've observed the way in which
its form and profile and
method of upholstery have

found their way into some other
products on the market.

I think it was probably 40 or
50 years ahead of its time.

This is the one where we've
looked at increasing the
height slightly.

I don't like increasing the
height. I would prefer the arm
length.

If you get some steel part...

screwed together with the leg.
Yeah?

Dieter, should we offer this
chair in fabric or only in
leather?

- No! No, in leather only.
- Only in leather.

- Same procedure as with the
620. - Same procedure as every
year.

These things should speak the
same language. And that makes
sense.

It was always what I was
trying to do with the Braun
products.

Even if a kitchen machine is
different from a radio or from
a hifi.

But all together it makes one
family.

And the same should happen
with this. People should go,
"Oh, that comes from Vitsoe."

♪

[birds chirping]

Dieter is a man with incredible
sensitivity and understanding

and appreciation of the
natural world.

In the 1970s, he was one of
the early voices saying, "What
are we doing to our planet?"

And he woke up sort of mid-70s
and went "Woah, am I part of
the problem?"

"I'm making all of this
injection-molded plastic
stuff."

And that was where the 10
Principles for Good Design
came from,

because he was questioning
himself.

Saying, "Well actually, are we
producing something that is
adding value to the planet,

that is not just depleting the
resources?"

The challenge is how we can
take Dieter's very strongly
held belief forward in another
generation.

[construction noises]

We have now been spending many
years designing a new building
for Vitsoe.

A new headquarters and
production building. But
equally will be a residential
building.

That building, and so many of
the ideas and techniques that
we're deploying in it,

are completely formed by his
Principles for Good Design.

We're seeing it as being a
living experiment.

So Dieter, there you have our
little building.

- A lot of space.
- A lot of space.

Yeah.

And so you're walking now into
the main assembly area.

We will be making the chairs
right here.

And then we will have
divisions coming down from the
beam, hanging the full height
of the building.

So we have five bedrooms.

Because we have people come
for 6 or 8 weeks from Los
Angeles or New York or Munich.

When they are newly recruited,
then they can come and stay
here, live in the building.

Got the good windows, so
lovely natural light.

We've designed it that we
should have no lights on
during daylight hours. No
lights at all.

It's a special fire board, and
it's on both sides.

You have to create a fire
barrier from the plant room
out to here.

And I wanted to be completely
honest that that is a fire
barrier.

Ok.

For me, it's almost like a
paper is on it. But you're
saying it's only printed on
it.

- It's just printed on it. -
And you will leave the
printing?

Yeah. But we could take it
off, we could sand it off. But
I quite like the honesty.

It looks more honest if it's
away, because...

It's a little bit irritating.

I was of the opinion that it
was the cover material on the
panels.

- So, sand it?
- I agree with that. Sand it.

Fine, we will sand it. If we
see Alastair, we'll -

Tell Alastair we're sanding
it, ok?

So our commercial kitchen will
be here, and then all of our
tables and benches -

because we want to stop the
whole building for half an
hour at lunchtime.

And a cook prepares the food
and serves everybody here.

- So that will be the canteen?
- This is the canteen.

This is beech.

And this is birch.

Yeah, wonderful.

The rule in this building has
been no paintbrushes.

Natural materials, natural
finishes.

So many of the people who have
worked in this building

have had to get used to the fact

that where their workmanship,
their craftsmanship is
normally covered up,

in this building it will not
be covered up.

So you've seen the quality of
their work

has gone much higher because
they're all taking care.

Because they know that their
pipes and their wires are all
on display.

In the '50s and '60s, there
was this drive for modern, the
new.

But then came the '70s.

Rams' type of design was
rejected by a lot of
designers.

They were looking for colors
and shapes and swirls and
statements.

It's only later as designers
got really sick of that and
said, "There must be something
more to this,"

they realized that the
directions we were going in
had become very decadent.

Then this interest in Rams
began to grow again.

And I think it also had a lot
to do with Mark Adams and
Vitsoe.

And going through this effort
to spread the message.

We do not need all of this
space immediately.

- The ground space?
- Yeah.

Only. That's the number one on
the list. Number one.

And if we can't achieve it, we
won't do it.

I think the world is going
where you just try to create
one rigid culture in a space.

And I think we working at
Vitsoe would benefit from
other people around, as other
people would from us.

But they have to be the right
people.

We'll go and get some food and
drink. We'll just go and walk
over.

Can we leave the...

I normally don't wear hats. So
now I have a little problem.

Is it too tight?

- I have the feeling I have
to... - It's too much
pressure?

- Yeah.
- No.

It's the english word of "es
juckt mir den Kopf."

- Ah yes, he needs to scratch
his head. - Oh, he needs to
scratch his head! Ok.

- Because he's unused to it.
- Now you can scratch the head.

Much better.

I need fresh air on my head.

♪

There's a lot of reasons why
the chair is so central for
furniture designers.

The chair stands free in
space. You know, a table would
normally be covered, the bed
is not very public.

It has always been the symbol
of power, of politics, if you
think about the thrones in
antique societies.

And all this makes the chair
extremely attractive for
designers.

He's very clear about the
people he likes.

He's also from that generation
where designers dared to say,
"This, in my opinion, is bad
design."

Today you would more often hear,
"This is interesting," you know?

And you never know what
does that mean, "interesting?"

Yes, of course, I think the
whole world is interesting.

But I'm currently thinking
asking myself whether we're
not entering a time where

this question, "Is it good or
not good?" is maybe becoming
more important again.

We just can't afford to be so
indifferent.

What Dieter Rams once told us
when we prepared the
exhibition was that

he wants to design not only a
single object,

but he wants to design a whole
environment, or also
philosophically, a world in
which people could live in.

Rams has always been Rams.

You can recognize it, it has
this look of a certain color
palette, a certain formal
approach

That is what makes his design
work so convincing.

Today especially, when things
change so quickly.

And I think Rams shows that
design can have a very strong
orientation.

And it's not that there's no
evolution. He's still working
on things.

But he's working on details.
But he's not questioning his
general approach.

[Car rumbling]

Isn't that nice?

Ok, you can say it's a hobby,
but...

I like this hobby!

♪

[Wind chimes]

♪

[Crowd sounds]

We wanted to show a permanent
exhibition about Dieter Rams.

Dieter said, "Okay, I have a
message also about the future
of design,

about good design, and it will
be in good hands in a public
museum."

We have his private papers, we
have quite a big Braun
collection, and we have all of
the mockups.

With his mockups we can show
the design process.

Design should give answers to
problems, not make new
problems. But many designs
make new problems.

And this is what I like very
much about Dieter, that he
says we have to make the world
better.

[Applause]

[Applause]

[Laughter]

♪

I think Dieter's surprisingly
pessimistic about the future.

But then I think he's also
maybe not so aware of how much
his principles have influenced
people.

Because Rams' design is not
just design, it's a whole
attitude.

It incorporates everything
about how you live.

It's about getting rid of
excess, visual clutter, and
just living with what you
need.

Less but better is quite an
amazing legacy.

What better thing could you
want than that?

♪