Dieter Rams' Design Philosophy Unfolds in Hong Kong | BCAF Initiates International Exchange
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▲"Dieter Rams: Less, but Better" installation view in Hong Kong © Hong Kong Design Institute (HKDI)
On February 26, 2026, the "Dieter Rams: Less, but Better" touring exhibition officially opened at the Hong Kong Design Institute (HKDI). On the opening day, speeches were delivered by Ms. Annika Bolten-Drutschmann, Consul at the German Consulate General Hong Kong, and Dr. Hehn-Chu Ahn, representative of the Rams Foundation, Germany. An inspiring opening dialogue followed featuring Klaus Klemp, Executive Director of the Rams Foundation and exhibition curator; Dr. Hehn-Chu Ahn; Mr. Stephen Chiu, President of the Hong Kong Industrial Designers Association (HKIDA); and Mr. Leung Kwan-kong, Creative Director of White Tea Creative Studio. They delved into Dieter Rams' design philosophy and its profound influence.
Dieter Rams first visited Hong Kong for an exchange in 2011. Fifteen years later, a significant collection of his works returns to the city. For Hong Kong, this exhibition represents more than just a retrospective of an industrial design master; it serves as a public discourse on the very standards of design. When the question "What is good design?" is posed once more, it transcends being merely an academic topic within schools, evolving into a pertinent issue intertwined with urban living, consumer choices, and a sustainable future. Rams' core philosophy, "Less, but Better," resonates with particular clarity and restraint within the densely packed, fast-paced urban environment.
▲"Dieter Rams: Less, but better" Hong Kong exhibition poster © Hong Kong Design Institute (HKDI)
01
A Design Trajectory Spanning Half a Century
The "Dieter Rams: Less but Better" exhibition was curated with the direct participation of Dieter Rams himself, in collaboration with curator Klaus Klemp and Ms. Cui Qiao, Chairperson of the Beijing Contemporary Art Foundation.
The exhibition systematically presents Dieter Rams' creative trajectory spanning over half a century, from his early student works at the Werkkunstschule Wiesbaden, through the industrial language he established during his time at Braun, to his long-term furniture system collaboration with Vitsœ. The exhibition's aim extends beyond a mere "display of classic products"; instead, by juxtaposing objects, sketches, archival materials, and videos, it outlines a clear path of intellectual evolution.
▲"Dieter Rams: Less, but Better" installation view in Hong Kong © Hong Kong Design Institute (HKDI)
Within the exhibition space, products are arranged in a near-rational order: proportions, structures, and interface languages are laid out for analysis. Visitors can trace the design process from sketch to finished product and grasp the underlying criteria guiding these creations. Dieter Rams operated against the backdrop of rapid post-war industrialization and the rise of consumerism. His consistent focus remained on durability, honest expression, and functional essence. It is through this sustained self-discipline that "Less, but Better" evolved into a verifiable design methodology, not just a slogan.
02
Witnessing Principles Take Form Through Specific Exhibits
The exhibition doesn't rely solely on a chronological narrative. Instead, through a wealth of key objects, it allows visitors to understand how Dieter Rams translated abstract principles into tangible forms.
▲Dieter Rams' earliest design work - a scale model of an armchair reconstructed based on the original sketch from 1952 © Hong Kong Design Institute (HKDI)
Dieter Rams' earliest work – an armchair design from his student days – serves as a crucial starting point for understanding his design consciousness. The exhibition features a scale model of the armchair reconstructed based on the original 1952 sketch. This piece, created during his time at the Werkkunstschule Wiesbaden, clearly inherits the structural logic of 1920s Modernism. The simple frame, restrained decoration, and precise handling of proportions already reveal a sensitivity to the relationship between form and function. Within the post-war German educational context, Modernism wasn't interrupted but continued in a more rational form. The principle Rams would later champion, "as little design as possible," is already discernible at this stage.
During the Braun era, his industrial language became systematized. The Nizo FA 3 camera stands as a representative piece from this period. Compared to prototype devices from the 1930s, Dieter Rams and his team significantly simplified it, condensing the complex body language into a clearer geometric structure, reshaping it into an octagonal form. This change not only enhanced user-friendliness but also shifted the device's character from an amateur tool towards a more professional visual instrument. The formal reduction did not compromise function; instead, it reinforced its reliability and durability.
▲"Dieter Rams: Less, but Better" installation view in Hong Kong © Hong Kong Design Institute (HKDI)
The ET 66 Control Calculator is a classic result of Dieter Rams' collaboration with his long-term partner Dietrich Lubs. The "Braun Clocks & Calculators" section, featuring this exhibit, is a significant new addition to this touring exhibition. The ET 66's interface uses a restrained palette of black, grey, and white, with function keys distinguished by subtle yet clear colors; all elements are organized around operational logic. Compared to its predecessor, the Omron 86, the ET 66 is more concise and clear in its proportions and interface layout, eliminating superfluous visual distractions. The calculator thus transcends being merely a technical device, becoming an expression of order. This interface language has been widely referenced subsequently, even influencing the design of contemporary digital devices.
The DW 30 wristwatch applies the principle of "Less, but Better" to an even more everyday scale. The rectangular case, clear numerical display, and almost complete absence of decorative surface finishing make reading the time the sole focus. It doesn't pursue complex functions or visual spectacle but emphasizes accuracy and enduring legibility. The dial proportions, typeface selection, and marker placement are all meticulously considered, achieving maximum clarity with minimal intervention. This attention to detail aligns perfectly with principles like "good design is long-lasting" and "good design is as little design as possible."
When these works are placed within the same space, a stable and consistent set of criteria emerges: restraint isn't about diminishing value, but about clarifying what truly matters by continuously eliminating non-essential elements. Dieter Rams never claimed to establish a "style"; instead, he repeatedly validated the same methodology across different product categories and eras. This is perhaps the exhibition's most powerful aspect – it allows visitors to see design principles being practiced consistently over time, not just existing on a theoretical level.
03
Reaffirming the Value of Restraint in an Age of Over-Design
▲"Dieter Rams: Less, but Better" installation view in Hong Kong © Hong Kong Design Institute (HKDI)
Dieter Rams' tenets – "good design is long-lasting," "good design is environmentally friendly," "good design is as little design as possible" – originated during an era of rapid industrialization but resonate even more profoundly today.
In a market driven by rapid iteration and instant consumption, products are often measured by update frequency rather than lifespan. Interfaces constantly accumulate features, appearances frequently shift styles, and durability is increasingly sidelined. Dieter Rams championed an alternative scale: extending product lifecycles, letting form follow function, and holding materials and structures to genuine account, rather than manufacturing fleeting visual stimulation.
"Less, but Better" is thus not a synonym for minimalist style, but a value judgment. It implies exercising restraint and self-reflection in every design decision, given the reality of finite resources. For Dieter Rams, designers don't just create objects; they participate in shaping society's understanding of "need." The exhibition presents not merely nostalgia for a bygone era, but a set of standards that remain testable today.
04
Bringing Design Back to Judgment and Responsibility
As a significant stop on the touring exhibition, its placement within the educational and public cultural space of the Hong Kong Design Institute is itself symbolic. In a city characterized by intense commercialization and high density, revisiting the question "What is good design?" and opening it up to students and the public serves both as a review of industrial design history and as a reminder for future design practice.
The "Dieter Rams: Less but Better" exhibition will run until May 3rd at the HKDI Experience Centre, open to the public. This design trajectory, constructed through objects, archives, and spatial narrative, allows visitors to understand, through concrete items, how a set of principles remains valid over the long term. Perhaps amidst today's complex and overwhelming array of choices, re-engaging with "Less, but Better" is itself a necessary calibration.
▲"Dieter Rams: Less, but Better" exhibition opening day scene in Hong Kong © Hong Kong Design Institute (HKDI)
○ Exhibition Information
l Exhibition Title: Dieter Rams: Less but Better
l Exhibition Dates: February 27, 2026 – May 3, 2026
l Opening Hours: 10:00 - 20:00 (Closed every Tuesday)
l Venue: HKDI Experience Centre, Hong Kong Design Institute
l Admission: Free
l Curators: Klaus Klemp, Cui Qiao
l Co-organized by: Beijing Contemporary Art Foundation, Hong Kong Design Institute (HKDI), Rams Foundation, Germany
l BCAF Project Team: Cui Qiao, Guo Hanqiu, Luo Jiawen, Li Rui, Zhao Yi, Liu Yixin, Gu Zuo
Media Contact
Beijing Contemporary Art Foundation (BCAF)
Email: jiawen.luo@bcaf.org.cn
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