The 10 principles of good design by Dieter Rams

Dieter Rams was born on May 20, 1932, in Wiesbaden, Germany. He grew up in a post-war environment deeply marked by reconstruction and the desire to redefine the course of German society. His grandfather, a carpenter, was a direct and significant influence: working with his hands, artisanal precision, and respect for materials were seeds planted early on.

Initially interested in carpentry, Rams began to stand out as a young man for his talent in manual work, receiving local awards for his skill. This led him to study architecture and interior design at the Werkkunstschule Wiesbaden (School of Applied Arts), at a time when Germany was seeking a new visual identity — modern, clean, and functional — in contrast to the chaos and excess of the pre-war period.

Start at Braun and rise

In 1955, at the age of 23, Rams was encouraged by a friend to apply for a position at Braun, a German appliance company undergoing an internal revolution after the death of its founder. Erwin and Artur Braun, the heirs of the brand, sought to radically modernize the visual language of their products — and Rams was a key player in that process.

His work began with interior design but quickly migrated to product design. In 1956, he participated in the redesign of the iconic SK4, a radiogram that broke with the traditionalism of the time by replacing the heavy wooden lid with an innovative transparent acrylic cover. The device became known as “Snow White’s Coffin” and is still a symbol of functional modernism today.

In 1961, Dieter Rams was appointed head of design at Braun, a position he held until 1995. During this time, he established one of the most consistent and influential portfolios in the history of industrial design. At the same time, he worked with Vitsœ, a furniture brand with which he developed the legendary 606 shelf system — still in production and sale today.

The philosophy of the "Ten Principles"

In the 1970s, disturbed by the growth of consumerism and visual pollution, Rams began to question: “Is my design good design?” This led him to write the “Ten Principles of Good Design”, also known as “the ten commandments,” which have become a global reference:

1. Good design is innovative

   Innovation in design is always possible, even in traditional products.

2. Good design makes a product useful

   Good design enhances the utility of a product without distracting from it.

3. Good design is aesthetic

   Aesthetic quality is essential because the products we use every day affect our well-being.

4. Good design makes a product understandable

   It clarifies the product's structure. Even better: it can even “speak for itself.”

5. Good design is unobtrusive

   Products are not decorative objects. Their design should be neutral and restrained, allowing for the user's self-expression.

6. Good design is honest

   It does not make a product seem more innovative, powerful, or valuable than it really is. It does not try to manipulate the consumer with false promises.

7. Good design is durable

   Avoids being a fad. Looks fresh even after a long time.

8. Good design is thorough down to the last detail

   Nothing should be arbitrary or left to chance. Care and precision show respect for the consumer.

9. Good design is environmentally friendly

   Contributes to the preservation of the environment, minimizing the physical and visual impact throughout the product's life cycle.

10. Good design is the least design possible

    Less, but better — focuses on essential aspects without overloading the product with unnecessary elements.

This minimalist and functional approach has influenced generations of designers — including Jonathan Ive, responsible for the design of the iPod, iPhone, and other Apple products. The aesthetic relationship between Braun and Apple is often cited as an example of philosophical continuity.

Legacy and impact

Rams shaped not only products but an ethical and lasting vision of the role of design in society. He believed that design should “make the world a better place,” not just beautiful. His creations are still studied in design schools and revered in museums like MoMA in New York.

His journey is celebrated in the documentary “Rams” (2018), directed by Gary Hustwit (the same director of “Helvetica”), which offers an intimate look at his life and legacy.

Today, even retired and living in his modernist home designed by himself in Kronberg, Dieter Rams remains a critical voice against waste, planned obsolescence, and empty aesthetics. His mantra remains current: “Less, but better” (Weniger, aber besser).