In the early 1960s, the Federal Republic of Germany slowly emerged from the isolation into which it had fallen as a result of National Socialism and the Second World War. America was now no longer just a role model, but also an export country, especially for German cars from brands like Mercedes, Volkswagen, and Porsche. In 1958, large parts of Braun’s product range entered the Design Collection of the Museum of Modern Art in New York. Germany was returning to the international stage.

This era saw the emergence of a new kind of radio, which became at the same time a paradigmatic work by designer Dieter Rams. It mirrors both cosmopolitanism and mobility, two characteristics that are even more important today. By opening the front flap of the purely rectangular, closed housing, a complex control panel consisting of a station tuner, adjustment knobs, and connection sockets is revealed, its variety in stark contrast with the exterior. You can almost sense the vast world of FM, longwave, medium wave, and eight shortwave reception ranges that presents itself here. The side bandwidth switch has a voluminous feel, the comprehensive operating instructions have their own compartment in the housing flap so they are always at hand, and the large, detailed tuner not only signals precision, but with its ultra-fine typography and clear numbering is a prime example of exact design.