40 Questions to Ask an Object 22

20. Where was it designed? 21. Is the designer also the producer? 40 Questions Considerations Describe production. There is flexibility involved in running this project. You might assign icons of design (from the to Ask an Object 22. Who produced it? textbook, museum, local retail store, or personal collection) and arrive at new ways of consid- 23. Where was it produced? ering them. Or, you might allow students to choose objects on their own and arrive at an A PRI MER TO CONDUCTING 24. What methods were used to produce it? understanding of how different objects have overlapping stories. You might have the entire A DESIG N A NALYSI S 25. Who paid to make it (company, manufacturer, commissioner, client, patron)? Do you class run the same object through the exercise to see the variety of directions their answers know what it cost? can go. 26. Were there pieces or parts from other places? 27. Were there any constraints on its production (legal, political)? Choosing objects (the parameters) • Objects chosen should have a history Use the questions below to steer an investigation of your object. • Objects should be “useful artifacts” (not art). • Pre-industrial objects may be used, but students may have trouble answering some of part 2: UNDERSTAND THE CONTEXT OF THE OBJECT. the questions. • Objects may be part of an established design canon or an everyday object. NEH Symposium part 1: UNDERSTAND THE OBJECT. Collect up to four images of alternatives from the same time period. Teaching the History Find up to four images that describe the object. • Objects may be 2D (poster, font, textile) or 3D (appliance, building, package), or a of Modern Design Although there are many ways to examine a designed object, they all tend to lead us to Describe one of the alternative objects. system (corporate identity, signage, stacking food storage). similar conclusions. Designed objects have many stories to tell. This project is intended to 28. How are the objects the same (cost, availability, materials, manufacturing/production)? Describe the basics of this object. help students more deeply investigate an object. By asking different questions of the Matthew Bird 1. What is it? 29. How are the objects different (cost, availability, materials, manufacturing/production)? Gayle Goudy object (more than merely who, what, when, where) we can arrive at a richer learning 30. Who would use the alternative (consider genders, geographies, abilities, age)? Assessment Brockett Horne 2. What is it called? experience, and have more opportunities to link together learning into a more meaningful 31. Do the two objects appeal to the same taste? Effective student projects should: 3. When was it made? story. The project can be repeated to arrive at a longer-term timeline of objects by the end Respond to the majority of the 40 questions. 4. Where is or was the object available? of the semester. Use varied sources to produce a wide understanding and specific details. Demonstrate a capability to synthesize research into key points. Describe what it looks like. (Formal Analysis) Components part 3: Be able to make comparisons between their work and their peers’. 5. What are the parts? UNDERSTAND THE HISTORY OF THE OBJECT. The 40 Questions assignment is designed to lead students into a richer and more com- Collect up to four images of previous and/or later versions. 6. How are the parts composed (consider line, shape, form, balance, emphasis/focus, plete method of inquiry and discovery. The Bibliography documents sources, but also . movement, pattern, repetition, unity)? demonstrates the range of research tools needed to learn about designed objects, and the Describe what came before and after. 7. What materials are used? quality of information each can produce. 8. What colors are used? 32. When were the alternatives made? 33. How has the object changed over time? 9. What textures are used? The Summary Document will require students to reduce their research into essential bits 34. How has the use of the object changed over time? that are easy to communicate with a group. Describe what it does. (Functional Analysis) 35. How has the user of the object changed over time? 36. Where have these objects been used over time? 10. What does it do? The In-class Group Exercise uses individual research to find overlapping themes and 37. How did technology or new materials change this object? Divide your students into groups of three or four and ask them to compare their summary 11. How does it work? create conversations that share not just the details but the ideas discovered along the way. 12. Does it also have a social function? 38. Did changing social structures affect the use of this object? documents. Possible discussion questions are below: 13. Does it have a patent? 39. Did changing social structures affect the perception of this object? 40. Did legal requirements or trade agreements change these objects over time? • Plot the chronology of these objects. What key dates do they have in common? 14. Is it used conspicuously or privately? Learning Outcomes • What geographies do these objects and/or their parts have in common? • Analyze a design object from multiple perspectives. • Are underrepresented users or makers present? (women, racial minorities, etc.) Describe the user. • Construct and practice a design history research method that incorporates globalism, • Are there different production or distribution systems involved? 15. Who is the user? social history, and object analysis. • Would you describe these objects as high brow? Low brow or kitsch? No brow? 16. What is specific about the user (consider geography, social class, income, gender, SUMMARY DOCUMENT • Develop a body of research and select specific ideas that demonstrate the key themes. Organize your images and key phrases from your answers on an 11x17 inch page. • Are “famous” objects all high-end? ability, age, etc.)? • Compare your projects to identify commonalities and differences between objects, Be ready to use this page to share what you learned with the class. • How do these objects demonstrate the identity of those who use them? 17. Are there unintended or other users? histories, and discovered information. Prepare a brief statement to introduce your project and share what you learned. • Is there an idea being promoted by any of the objects (political statement, protest effort?) • Develop a research practice that encourages investigating consumers and manufacturers • What do different formats (2D, 3D) have in common? Describe the designer. in addition to creators. 18. Who designed it? BIBLIOGRAPHY 19. Is there team of designers? Include a complete bibliography citing sources used for information and images. 20. Where was it designed? 21. Is the designer also the producer? Considerations Describe production. There is flexibility involved in running this project. You might assign icons of design (from the 22. Who produced it? textbook, museum, local retail store, or personal collection) and arrive at new ways of consid- 23. Where was it produced? ering them. Or, you might allow students to choose objects on their own and arrive at an 24. What methods were used to produce it? understanding of how different objects have overlapping stories. You might have the entire 25. Who paid to make it (company, manufacturer, commissioner, client, patron)? Do you class run the same object through the exercise to see the variety of directions their answers know what it cost? can go. 26. Were there pieces or parts from other places? 27. Were there any constraints on its production (legal, political)? Choosing objects (the parameters) • Objects chosen should have a history • Objects should be “useful artifacts” (not art). • Pre-industrial objects may be used, but students may have trouble answering some of part 2: UNDERSTAND THE CONTEXT OF THE OBJECT. the questions. • Objects may be part of an established design canon or an everyday object. part 1: UNDERSTAND THE OBJECT. NEH Symposium Collect up to four images of alternatives from the same time period. Find up to four images that describe the object. Teaching the History • Objects may be 2D (poster, font, textile) or 3D (appliance, building, package), or a of Modern Design Although there are many ways to examine a designed object, they all tend to lead us to Describe one of the alternative objects. system (corporate identity, signage, stacking food storage). similar conclusions. Designed objects have many stories to tell. This project is intended to 28. How are the objects the same (cost, availability, materials, manufacturing/production)? Describe the basics of this object. help students more deeply investigate an object. By asking different questions of the Matthew Bird 1. What is it? 29. How are the objects different (cost, availability, materials, manufacturing/production)? Gayle Goudy object (more than merely who, what, when, where) we can arrive at a richer learning 30. Who would use the alternative (consider genders, geographies, abilities, age)? Assessment 2. What is it called? Brockett Horne experience, and have more opportunities to link together learning into a more meaningful 31. Do the two objects appeal to the same taste? Effective student projects should: 3. When was it made? story. The project can be repeated to arrive at a longer-term timeline of objects by the end Respond to the majority of the 40 questions. 4. Where is or was the object available? of the semester. Use varied sources to produce a wide understanding and specific details. Demonstrate a capability to synthesize research into key points. Describe what it looks like. (Formal Analysis) Components part 3: Be able to make comparisons between their work and their peers’. 5. What are the parts? UNDERSTAND THE HISTORY OF THE OBJECT. The 40 Questions assignment is designed to lead students into a richer and more com- Collect up to four images of previous and/or later versions. 6. How are the parts composed (consider line, shape, form, balance, emphasis/focus, plete method of inquiry and discovery. The Bibliography documents sources, but also . movement, pattern, repetition, unity)? demonstrates the range of research tools needed to learn about designed objects, and the Describe what came before and after. 7. What materials are used? quality of information each can produce. 8. What colors are used? 32. When were the alternatives made? 33. How has the object changed over time? 9. What textures are used? The Summary Document will require students to reduce their research into essential bits 34. How has the use of the object changed over time? that are easy to communicate with a group. Describe what it does. (Functional Analysis) 35. How has the user of the object changed over time? 36. Where have these objects been used over time? 10. What does it do? The In-class Group Exercise uses individual research to find overlapping themes and 37. How did technology or new materials change this object? Divide your students into groups of three or four and ask them to compare their summary 11. How does it work? create conversations that share not just the details but the ideas discovered along the way. 12. Does it also have a social function? 38. Did changing social structures affect the use of this object? documents. Possible discussion questions are below: 13. Does it have a patent? 39. Did changing social structures affect the perception of this object? 40. Did legal requirements or trade agreements change these objects over time? • Plot the chronology of these objects. What key dates do they have in common? 14. Is it used conspicuously or privately? Learning Outcomes • What geographies do these objects and/or their parts have in common? • Analyze a design object from multiple perspectives. • Are underrepresented users or makers present? (women, racial minorities, etc.) Describe the user. • Construct and practice a design history research method that incorporates globalism, • Are there different production or distribution systems involved? 15. Who is the user? social history, and object analysis. • Would you describe these objects as high brow? Low brow or kitsch? No brow? 16. What is specific about the user (consider geography, social class, income, gender, SUMMARY DOCUMENT • Develop a body of research and select specific ideas that demonstrate the key themes. Organize your images and key phrases from your answers on an 11x17 inch page. • Are “famous” objects all high-end? ability, age, etc.)? • Compare your projects to identify commonalities and differences between objects, Be ready to use this page to share what you learned with the class. • How do these objects demonstrate the identity of those who use them? 17. Are there unintended or other users? histories, and discovered information. Prepare a brief statement to introduce your project and share what you learned. • Is there an idea being promoted by any of the objects (political statement, protest effort?) • Develop a research practice that encourages investigating consumers and manufacturers • What do different formats (2D, 3D) have in common? Describe the designer. in addition to creators. 18. Who designed it? BIBLIOGRAPHY 19. Is there team of designers? Include a complete bibliography citing sources used for information and images. 20. Where was it designed? 21. Is the designer also the producer? Instructor’s Guide Considerations Describe production. There is flexibility involved in running this project. You might assign icons of design (from the 40 QUESTIONS TO ASK AN OBJECT 22. Who produced it? textbook, museum, local retail store, or personal collection) and arrive at new ways of consid- 23. Where was it produced? ering them. Or, you might allow students to choose objects on their own and arrive at an 24. What methods were used to produce it? understanding of how different objects have overlapping stories. You might have the entire 25. Who paid to make it (company, manufacturer, commissioner, client, patron)? Do you class run the same object through the exercise to see the variety of directions their answers know what it cost? can go. 26. Were there pieces or parts from other places? 27. Were there any constraints on its production (legal, political)? Choosing objects (the parameters) • Objects chosen should have a history Teaching Overview • Objects should be “useful artifacts” (not art). • Pre-industrial objects may be used, but students may have trouble answering some of part 2: UNDERSTAND THE CONTEXT OF THE OBJECT. the questions. • Objects may be part of an established design canon or an everyday object. part 1: UNDERSTAND THE OBJECT. Collect up to four images of alternatives from the same time period. NEH Symposium Find up to four images that describe the object. Teaching the History • Objects may be 2D (poster, font, textile) or 3D (appliance, building, package), or a of Modern Design Although there are many ways to examine a designed object, they all tend to lead us to Describe one of the alternative objects. system (corporate identity, signage, stacking food storage). similar conclusions. Designed objects have many stories to tell. This project is intended to 28. How are the objects the same (cost, availability, materials, manufacturing/production)? Describe the basics of this object. help students more deeply investigate an object. By asking different questions of the Matthew Bird 1. What is it? 29. How are the objects different (cost, availability, materials, manufacturing/production)? Gayle Goudy object (more than merely who, what, when, where) we can arrive at a richer learning 30. Who would use the alternative (consider genders, geographies, abilities, age)? Assessment 2. What is it called? Brockett Horne experience, and have more opportunities to link together learning into a more meaningful 31. Do the two objects appeal to the same taste? Effective student projects should: 3. When was it made? story. The project can be repeated to arrive at a longer-term timeline of objects by the end Respond to the majority of the 40 questions. 4. Where is or was the object available? of the semester. Use varied sources to produce a wide understanding and specific details. Demonstrate a capability to synthesize research into key points. Describe what it looks like. (Formal Analysis) Components part 3: Be able to make comparisons between their work and their peers’. 5. What are the parts? UNDERSTAND THE HISTORY OF THE OBJECT. The 40 Questions assignment is designed to lead students into a richer and more com- Collect up to four images of previous and/or later versions. 6. How are the parts composed (consider line, shape, form, balance, emphasis/focus, plete method of inquiry and discovery. The Bibliography documents sources, but also . movement, pattern, repetition, unity)? demonstrates the range of research tools needed to learn about designed objects, and the Describe what came before and after. 7. What materials are used? quality of information each can produce. 8. What colors are used? 32. When were the alternatives made? 33. How has the object changed over time? 9. What textures are used? The Summary Document will require students to reduce their research into essential bits 34. How has the use of the object changed over time? that are easy to communicate with a group. Describe what it does. (Functional Analysis) 35. How has the user of the object changed over time? 36. Where have these objects been used over time? 10. What does it do? The In-class Group Exercise uses individual research to find overlapping themes and 37. How did technology or new materials change this object? Divide your students into groups of three or four and ask them to compare their summary 11. How does it work? create conversations that share not just the details but the ideas discovered along the way. 12. Does it also have a social function? 38. Did changing social structures affect the use of this object? documents. Possible discussion questions are below: 13. Does it have a patent? 39. Did changing social structures affect the perception of this object? 40. Did legal requirements or trade agreements change these objects over time? • Plot the chronology of these objects. What key dates do they have in common? 14. Is it used conspicuously or privately? Learning Outcomes • What geographies do these objects and/or their parts have in common? • Analyze a design object from multiple perspectives. • Are underrepresented users or makers present? (women, racial minorities, etc.) Describe the user. • Construct and practice a design history research method that incorporates globalism, • Are there different production or distribution systems involved? 15. Who is the user? social history, and object analysis. • Would you describe these objects as high brow? Low brow or kitsch? No brow? 16. What is specific about the user (consider geography, social class, income, gender, SUMMARY DOCUMENT • Develop a body of research and select specific ideas that demonstrate the key themes. Organize your images and key phrases from your answers on an 11x17 inch page. • Are “famous” objects all high-end? ability, age, etc.)? • Compare your projects to identify commonalities and differences between objects, Be ready to use this page to share what you learned with the class. • How do these objects demonstrate the identity of those who use them? 17. Are there unintended or other users? histories, and discovered information. Prepare a brief statement to introduce your project and share what you learned. • Is there an idea being promoted by any of the objects (political statement, protest effort?) • Develop a research practice that encourages investigating consumers and manufacturers • What do different formats (2D, 3D) have in common? Describe the designer. in addition to creators. 18. Who designed it? BIBLIOGRAPHY 19. Is there team of designers? Include a complete bibliography citing sources used for information and images. 20. Where was it designed? 21. Is the designer also the producer? Considerations Describe production. There is flexibility involved in running this project. You might assign icons of design (from the 22. Who produced it? textbook, museum, local retail store, or personal collection) and arrive at new ways of consid- 23. Where was it produced? ering them. Or, you might allow students to choose objects on their own and arrive at an 24. What methods were used to produce it? understanding of how different objects have overlapping stories. You might have the entire 25. Who paid to make it (company, manufacturer, commissioner, client, patron)? Do you class run the same object through the exercise to see the variety of directions their answers know what it cost? can go. 26. Were there pieces or parts from other places? 27. Were there any constraints on its production (legal, political)? Choosing objects (the parameters) • Objects chosen should have a history • Objects should be “useful artifacts” (not art). • Pre-industrial objects may be used, but students may have trouble answering some of part 2: UNDERSTAND THE CONTEXT OF THE OBJECT. the questions. • Objects may be part of an established design canon or an everyday object. part 1: UNDERSTAND THE OBJECT. Collect up to four images of alternatives from the same time period. NEH Symposium Find up to four images that describe the object. Teaching the History • Objects may be 2D (poster, font, textile) or 3D (appliance, building, package), or a Although there are many ways to examine a designed object, they all tend to lead us to of Modern Design Describe one of the alternative objects. system (corporate identity, signage, stacking food storage). similar conclusions. Designed objects have many stories to tell. This project is intended to 28. How are the objects the same (cost, availability, materials, manufacturing/production)? Describe the basics of this object. help students more deeply investigate an object. By asking different questions of the 1. What is it? 29. How are the objects different (cost, availability, materials, manufacturing/production)? Matthew Bird object (more than merely who, what, when, where) we can arrive at a richer learning Gayle Goudy 30. Who would use the alternative (consider genders, geographies, abilities, age)? Assessment 2. What is it called? experience, and have more opportunities to link together learning into a more meaningful Brockett Horne 31. Do the two objects appeal to the same taste? Effective student projects should: 3. When was it made? story. The project can be repeated to arrive at a longer-term timeline of objects by the end Respond to the majority of the 40 questions. 4. Where is or was the object available? of the semester. Use varied sources to produce a wide understanding and specific details. Demonstrate a capability to synthesize research into key points. Describe what it looks like. (Formal Analysis) Components part 3: Be able to make comparisons between their work and their peers’. 5. What are the parts? UNDERSTAND THE HISTORY OF THE OBJECT. The 40 Questions assignment is designed to lead students into a richer and more com- Collect up to four images of previous and/or later versions. 6. How are the parts composed (consider line, shape, form, balance, emphasis/focus, plete method of inquiry and discovery. The Bibliography documents sources, but also . movement, pattern, repetition, unity)? demonstrates the range of research tools needed to learn about designed objects, and the Describe what came before and after. 7. What materials are used? quality of information each can produce. 8. What colors are used? 32. When were the alternatives made? 33. How has the object changed over time? 9. What textures are used? The Summary Document will require students to reduce their research into essential bits 34. How has the use of the object changed over time? Discussion Prompts that are easy to communicate with a group. Describe what it does. (Functional Analysis) 35. How has the user of the object changed over time? 36. Where have these objects been used over time? 10. What does it do? The In-class Group Exercise uses individual research to find overlapping themes and 37. How did technology or new materials change this object? Divide your students into groups of three or four and ask them to compare their summary 11. How does it work? create conversations that share not just the details but the ideas discovered along the way. 12. Does it also have a social function? 38. Did changing social structures affect the use of this object? documents. Possible discussion questions are below: 13. Does it have a patent? 39. Did changing social structures affect the perception of this object? 40. Did legal requirements or trade agreements change these objects over time? • Plot the chronology of these objects. What key dates do they have in common? 14. Is it used conspicuously or privately? Learning Outcomes • What geographies do these objects and/or their parts have in common? • Analyze a design object from multiple perspectives. • Are underrepresented users or makers present? (women, racial minorities, etc.) Describe the user. • Construct and practice a design history research method that incorporates globalism, • Are there different production or distribution systems involved? 15. Who is the user? social history, and object analysis. • Would you describe these objects as high brow? Low brow or kitsch? No brow? 16. What is specific about the user (consider geography, social class, income, gender, SUMMARY DOCUMENT • Develop a body of research and select specific ideas that demonstrate the key themes. Organize your images and key phrases from your answers on an 11x17 inch page. • Are “famous” objects all high-end? ability, age, etc.)? • Compare your projects to identify commonalities and differences between objects, Be ready to use this page to share what you learned with the class. • How do these objects demonstrate the identity of those who use them? 17. Are there unintended or other users? histories, and discovered information. Prepare a brief statement to introduce your project and share what you learned. • Is there an idea being promoted by any of the objects (political statement, protest effort?) • Develop a research practice that encourages investigating consumers and manufacturers • What do different formats (2D, 3D) have in common? Describe the designer. in addition to creators. 18. Who designed it? BIBLIOGRAPHY 19. Is there team of designers? Include a complete bibliography citing sources used for information and images.

This conceptual design for a universal alphabet, devoid of herbert bayer capital letterforms, proposes a new approach to typog- typeface concept raphy. The geometric visual forms contrast in shape and universal meaning to the prevailing German national letters depict- 1925 alphabet ed in the lower left.

alternative designs

ABCEDA, alternative alphabet Karl Teige, 1926, Czech

Karel Teige created an experimental alphabet through poetry and photomontage. Groovy results are here: abc logo by vimeo.com/5435609 Paul Rand, 1962 American typeface specimens by Rudolph Köch, 1925, Rand’s use of lowercase letters here is certainly inspired German by the universality of Bayer’s work.

These specimens of traditional German typography rep- resent types of fonts used in ofcial government publica- tions. Such styles were appreciated as a kind of national typeface of Germany until 1941, when Nazi ofcials banned them after learning they were illegible to foreign ITC Bauhaus Benguiat’s tacky design is a punching bag for today’s font design by Ed Benguiat, readers. 1975 typographers. The forms are inspired by Bayer, but the American open lines and heavy letters add wavy motion that make it less functional. 40 Questions to Ask an Object Example: Eliza Lucas Pinckney Dress part i: UNDERSTAND THE OBJECT. Describe the basics of this object. • What is it? A sack-back dress (a la française) made in the mid 1750s. This dress was only available • What is it called? • When was it made? to wealthy women. This style of dress was the second most formal dress. • Where is or was the object available? Describe what it looks like. (Formal Analysis) • What are the parts? The dress once consisted of three parts: a gown with fabric folded in box pleats that fall • How are the parts composed (consider line, shape, form, balance, loose from the shoulder to the ﬂoor with a slight train, a stomacher, and petticoat. The emphasis/focus, movement, pattern, repetition, unity)? dress would be worn over wide square hoop or panniers under the petticoat. The • What materials are used? stomacher has been lost. The material is a salmon-colored silk brocade. • What colors are used? • What textures are used? Describe what this object does. (Functional Analysis) • What does it do? A dress covers the body, but in this case it has a social function. Eliza likely wore this • How does it work? dress to meet Princess Augusta. She commissioned three dresses while she was abroad. • Does it also have a social function? One she gifted to the Princess, the other is part of the Smithsonian and the last given to • Does it have a patent? her daughter Harriot. • Is it used conspicuously or privately? Eliza Lucas Pinckney was a White, 33-year-old, colonial woman of some means, but who had ambition to be an absentee landlord and could never afford to. She kept slaves, who she referred to as “Servants” in her diary and correspondence. She did not like Describe the user. South Carolina and saw herself as English. She lived in England during boarding • Who is the user? school from 1732/3 to 1737/8. Her education was rigorous and practical (not typical of • What is specific about the user (consider geography, social class, a woman’s education). After she married, she moved to England again with her three income, gender, ability, age, etc.)? children in 1752. Her husband passed away in 1758 and she had to resume oversight of • Are there unintended or other users? the plantation, which she referred to as “a little hovel” in the country. This is all to emphasize that she saw herself as English. The intended audience was royalty, so it had to be courtly. Other unintended users are her decedents who played fancy-dress with it and us as museum goers. Describe the designer. • Who designed this object? A dressmaker in Paris. I do not know to what extent the patron had in customizing the • Is there team of designers? • Where was it designed? dress. • Is the designer also the producer? Designer is also the producer. Eliza Lucas Pinckney paid to have the dress. Silk: cultivated on her plantation in South Carolina Silk Brocade cloth: ???? Some planters had cloth made by slaves on their plantations Describe production. (Crew), but weaving silk brocade is a specialized skill that requires specialized • Who produced it? equipment (Watt). In Spitalﬁelds, a suburb of London, Pinckney could have had her silk • Where was it produced? weaved in the French tradition by Huguenots (Baird). The silk industry in England was • What methods were used to produce this object? struggling because they relied on imported silk from the east, which was expensive. • Who paid to make it (company, manufacturer, commissioner, client, patron)? Consumers could import better silk products from France or Italy for similar prices. • Were there pieces or parts from other places? Dress: sewn in Paris??? Maybe not. • Were there any constraints on its production (legal, political)? Worn: London to see the with Augusta, the Dowager Princess of Wales (where she presented the princess with a similar dress) Political dimension: The colonists were trying to establish tradable goods and Eliza’s dress demonstrated her success in cultivating silk in the lowcountry. Cultivating silk is labor intensive. part ii: UNDERSTAND THE CONTEXT OF THE OBJECT Collect up to four images of alternatives from the same time period.

All the alternatives are expensive and restricted to the upper classes. The dresses Eliza commissioned have a narrower silhouette and less ornamentation than some of the alternatives. Their existence is to demonstrate that silk production in the colonies is a viable export to the English crown.

Describe one of the eight alternative objects. Colonists had tried unsuccessfully to cultivate silk in the Americas for a century. • How are the objects the same (cost, availability, materials, (Incidentally, Pinckney also cultivated indigo and with the subsidies provided manufacturing/production)? by England made the Carolinas wealthy. This was the “time before the war” • How are the objects different (cost, availability, materials, manufacturing/production)? that Charlestonians go on about.). • Who would use the alternative (consider genders, geographies, abilities, age)? Lower class (or more commonly worn) dresses were a long shirt over a skirt • Do the two objects appeal to the same taste? with an apron. I suspect given the hot Carolina weather and isolation from social elite, Eliza would have worn the common dress as would her slaves. A traveler in the early 1730s described the summer clothing of Virginians: "In Summertime even the gentry goe Many in White Holland [linen] Wast Coat and drawers and a thin Cap on their heads and Thread stockings [knitted linen]. The Ladyes Strait laced in thin Silk or Linnen. In Winter [they dress] mostly as in England and affect London Dress and wayes." (Baumgarten) part iii: UNDERSTAND THE HISTORY OF THE OBJECT Collect up to four images of previous and/or later versions.

Describe what came before and after. • When were the alternatives made? • How has the object changed over time? These dresses do not change much in the mid-18th century, but vary • How has the use of the object changed over time? according to width and train. Popularly (from Wikipedia), the sack-back • How has the user of the object changed over time? • Where have these objects been used over time? dress came about to hide the pregnancy of a notable person because the • How did technology or new materials change this object? pleats obscured the wearer’s silhouette. The style faded out as the round • Did changing social structures affect the use of this object? gown (Marie Antoinette) and Regency gown (Neoclassical) came into • Did changing social structures affect the perception of this object? • Did legal requirements or trade agreements change these objects over fashion. time? Bibliography

Baird, Alison, “Silk in England,” The Northampton Silk Project website, Smith College in Northampton, Massachusetts. (http://www.smith.edu/hsc/silk/ papers/baird.html (August 2002), accessed 27 July 2015).

Baumgarten, Mary. “Looking at Eighteenth-Century Clothing” on the Colonial Williamsberg website (http://www.history.org/history/clothing/intro/ clothing.cfm, accessed 27 July 2015).

Bellows, Barbara L. “The Evolution of an Icon” in South Carolina Historical Society, v. 106, n. 2/3 (April-July 2005), p. 147.

Crews, Ed. “Spinning, Weaving, and Dying: Dexterity and Detective Work,” Colonial Williamsburg website (URL: http://www.history.org/foundation/ journal/winter07/weaving.cfm, accessed 28 July 2015).

“Dress from the Pre-Revolutionary War-Era Added to Smithsonian Costume Collection.” Press Release, Smithsonian: National Museum of American History at the Kenneth E. Behring Center. Washington, DC, April 23, 2008.

Mock, Gary N. “Silk in America” in Textile History (http://www.textilehistory.org/SilkinAmerica.html, accessed 27 July 2015)

Pinckney, Eliza Lucas. Letterbook of Eliza Lucas Pinckney, 1739-1762 edited by Elizse Pinckney, University of South Carolina, May 1997.

Watt, Melinda. “Textile Production in Europe: Silk, 1600-1800.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-. URL: http://www.metmuseum.org/toah/hd/txt_s/hd_txt_s.htm (October 2003), Accessed 28, July 2015.

Witt, Clyde E. “The Secrets of Raising Silkworms,” Mother Earth News, May/June 1979 available online (http://www.motherearthnews.com/ homesteading-and-livestock/raising-silkworms-zmaz79mjzraw.aspx, accessed 27 July 2015).

Image Sources Charleston Museum (https://www.charlestonmuseum.org) Kyoto Costume Institute (http://www.kci.or.jp) LACMA (http://collections.lacma.org) Metropolitan Museum (http://www.metmuseum.org) The Museum at FIT (http://www.ﬁtnyc.edu/museum.asp) Palais Galliera, Paris (http://www.palaisgalliera.paris.fr/en) Eliza Lucas Pinckney dress and skirt, c. 1753 Silk brocade (stomacher is missing), Charleston Museum

Made with silk cultivated on her plantation (this in itself is impressive)

Unknown who made the silk into cloth brocade

Unknown who dyed the cloth salmon- colored

Unknown who made the cloth into a dress (likely in London or Paris)

Te sack-back gown or Robe à la française is the second-most formal gown to the court gown (see portrait of the Dowager Princess)

One of three dresses made at the some time (1. presented to the Dowager Princess, 2. Smithsonian, and 3. Charleston Museum)

Common Dress Jean Baptiste Simeon Chardin Saying Grace Court Dress 1740 Tomas Hudson Dowager Princess Augusta c. 1751

Contemporary Dress Eliza Lucas Pinckney dress, skirt, and stomacher same owner, same silk c. 1753 Silk brocade. Smithsonian

Contemporary Dress Simlar class, in the Colonies John Wollaston Portrait of a Lady in Maryland 1749–1752 Contemporary Dress European Undergarments Robe à la française, France, 1760-70 Silk. Hoop petticoat or pannier, Costume Institute at the Metropolitan Museum of Art English, 1750-1780 Upper body underwear of linen twill and baleen. Hoop petticoat of plain-woven linen and cane; chemise of plain woven cotton. All items at the LACMA. Later Style Round Dress c. 1790 White muslin one-piece dress with long train; Alternate Style blue and brown cotton and silver Robe à l'Anglaise, French embroidery of plant patterns; 1784-1787 shirring at top of front; lace decora- Cotton, metal, silk tion around the neckline. Metropolitan Museum of Art Kyoto Costume Institute. Braun KF 20 Aromaster, 1972 This coffee maker’s success led to numerous versions from other electric drip coffee maker manufacturers, helping to make designed by Florian Seiffert coffee consumption a more casual made in Germany and constant part of our daily lives.

water in top

heating coil boils water water drips through ground coffee 1970 US Design Patent coffee brewed into carafe (up to 8 cups)

heating pad keeps coffee warm

As a student, Florian Seiffert won the Braun Prize in 1968, and went on to work as a designer there from 1968–1973

Coffee: 15th century: Arabia 16th century: Persia, Egypt, Syria, Turkey Instructions for the coffee 17th century: England, Holland, France, maker include text in German, through colonies in Java, Indonesia, English, Spanish, Italian, Sumatra, Celebes, Martinique, the French, Dutch, Danish, Caribbean, South and Central America Norwegian, and Finnish

Japan, c.1650 US, 1893 US, 1941 Germany, 1958 Coffee grounds Percolation sends Filtered drip coffee Wigomat uses electricity mixed in hot water, boiling water over allows more control to heat water and brew left to settle. contained grounds over brewing and flavor drip coffee in one apliance 40 Questions to Ask an Object A primer to conducting a design analysis

Use the questions below to steer an investigation of your object.

UNDERSTAND THE OBJECT. (Find up to four images that describe the object).

Describe the basics of this object. 1. What is it? An electric drip coffee maker 2. What is it called? Braun KF 20 Aromaster 3. When was it made? 1972 4. Where is or was the object available? Europe, America certainly, maybe farther.

Describe what it looks like. (Formal Analysis) 5. What are the parts? The coffee maker is divided into three horizontal zones: the top is a smooth plastic cylindrical housing, with rounded corners. There are neatly organized vent holes that make a patterned band around the back half of the lower part of this cylinder, and a demure Braun logo in front, carefully positioned over the horizontal on/off toggle switch. The bottom inch or so of this part is a black plastic band with a projecting handle which houses the filter. The middle zone is a removable glass carafe with a black plastic handle that aligns neatly with the filter handle, making a visual waist band around the middle of the coffee maker. The bottom zone is colored plastic and contains a heating pad. In addition to keeping the coffee warm, this base is structurally connected to the top with two vertical chromed metal tubes, and visually connected in color, uniting the three parts into one bold, unified cylindrical shape. 6. How are the parts composed (consider line, shape, form, balance, emphasis/focus, movement, pattern, repetition, unity)? The composition The Braun KF 20 coffee maker is a celebration of the cylinder. It employs a bold contrast of black and colored plastic, and an overall unity of shape, as all of the transitions and corners use a limited family of radii which relate to each other. All of the functioning equipment needed to make coffee (water container, heater, filter, carafe, electrical components) are unified into one object that appears to be more sculptural than functional. 7. What materials are used? The outer casing is plastic (probably Polypropylene), while the black parts are a more rigid plastic (probably Duroplast, as they contact the hot water). The carafe is glass, and the metal supports are chromed tubing. There are also electronic parts (heating pad, wiring, heating coil) made of stuff electronic parts are made of.

8. What colors are used? The KF 20 was available in white, orange, yellow, red, or olive green. All used black plastic for contrast, had a clear glass carafe, and chromed metal tubing. 9. What textures are used? Only smooth. This design is a celebration of smooth surfaces. The vent holes make a pattern, but manage to do so without creating texture. The inside of the coffee ﬁltering cone is ribbed, but that is not visible on the outside.

Describe what this object does. (Functional Analysis) 10. What does it do? The KF 20 uses gravity, and a paper filter to make drip coffee in the home. 11. How does it work? A heating element in the upper chamber boils water, which is released onto coffee grounds in a removable single-use paper filter held in place just below the water chamber. The brewed coffee drips into the removable glass carafe, where it is kept warm by a hot plate in the base. The process of brewing coffee takes between 5 and 15 minutes, depending on the amount of coffee being made. 12. Does it also have a social function? It is a practical device, as it is designed to make coffee in a domestic kitchen without needing a stove, but it also provides a social function of bringing people together to share a warm beverage. This coffee maker is one of the earliest counter-top home coffee makers and its success is largely responsible for changing coffee drinking from a public, coffee-shop experience, or a home event, cooking-focused experience into a less formal, any-time-you-want opportunity, and helping to make coffee consumption a more casual and constant part of our daily lives. 13. Does it have a patent? There is a 1970 US “claims refiling” of an earlier 1970 German patents involved. It is US Design Patent #223,425 and includes a coffee grinding mechanism included in the machine. 14. Is it used conspicuously or privately? Although this coffee maker is intended for private home use, it does make a bold and conspicuous design statement. As a result, it makes private use a conspicuous activity (for visitors or just for your own sense of importance).

Describe the user. 15. Who is the user? Anyone with electricity could use this coffee maker, but it was intended for home use, an a household with some disposable income. 16. What is speciﬁc about the user (consider geography, social class, income, gender, ability, age, etc.)? This was not a cheap coffee maker (135 DM ($42) in 1972 which would be around $240 today), so was used by middle class consumers. Braun was never an entry-level manufacturer, as the quality of their electric and electronic components, the careful manufacturing, and the concern for design made all of their products more expensive than lower-end versions from other manufacturers. But they were also innovators, using new technologies to create improved and durable versions of existing tools and objects. As a result, this coffee maker was not the least expensive model available. But it was the earliest, and established a new category of home appliance that other manufacturers could produce for a wider range of customer. Its sculptural and visible presence in a kitchen would tell visitors that the owner understood and valued design. Good coffee was important, but the declaration of good taste and forward thinking design would also have been part of the thrill of ownership. It is tempting to assume that the bold use of color would limit the appeal of the KF 20 to a younger audience. But the simple, thoughtful, controlled form of the machine would also let it appeal to an older, more cautious user. And the red or yellow models are balanced by the inclusion of olive green and white versions. There is enough variety in the visual statement this device makes to allow it to ﬁt into a wide variety of home kitchens. Instructions for the coffee maker include text in German, English, Spanish, Italian, French, Dutch, Danish, Norwegian, and Finnish indicating that it was sold throughout Europe, the United States, and beyond.

17. Are there unintended or other users? The KF20 made 8 cups of coffee (a revised KF21 model made 12), and so was created to make coffee for a crowd. Home entertaining was an important part of the use of this coffee maker, so dinner or house guests could be considered other users.

Describe the designer. 18. Who designed this object? Florian Seiffert was a staff designer at Braun, a German appliance and manufacturer in Frankfurt when he designed this coffee maker. He designed many other Braun products, including many of their successful electric razors. Seiffert studied at the Folkwang School of Design in Essen, and was one of the winners of Braun’s ﬁrst Braun Prize competitions, in 1968. 19. Is there team of designers? Although Braun had a large team of in-house designers, and designs were frequently developed through teamwork, with multiple names attached to a ﬁnished design, this coffee maker is recorded with only his name attached. Braun engineers likely participated in developing the technology used in the design, and the larger Braun marketing, sales, and distribution system was certainly involved in the process of getting the design produced and sold. 20. Where was it designed? Frankfurt, Germany 21. Is the designer also the producer? Seiffert was an employee of Braun, the producer of the coffee maker.

Describe production. 22. Who produced it? Braun was established in Frankfurt Germany in 1921 to make parts for scientific equipment, and quickly entered the growing field of radio manufacturing. From the early 1950s, design became increasingly important in the company’s output. By 1972 when this coffee maker was sold, Braun had produced a wide range of devices (electric shavers, radios, stereo components, projectors, coffee makers, flashlights, electronic lighters, and televisions). The company helped define what is called German Rationalism, and managed to introduce a unique and consistent form language that merged a rigid allegiance to geometry with a softer presence of organic shapes. 23. Where was it produced? It was made at the Braun factories in West Germany. 24. What methods were used to produce this object? The plastic parts are all injection moulded. The glass is machine blown. The tubing is extruded, bent, and plated. In short, it is industrially produced in large quantities. Assembly was done by hand in a factory. 25. Who paid to make it (company, manufacturer, commissioner, client, patron)? Do you know what it cost? Braun designed and made this, and directly sold it to regional distributors and retailers. 26. Were there pieces or parts from other places? The numerous later models of home coffee makers that Braun produced (at least 17 models between 1972 and 2004) became more complicated, incorporating circuitry that was purchased from other manufacturers, likely in Japan and later China. 27. Were there any constraints on its production (legal, political)? There may have been legislation about home-use devices with heating elements. There are different plugs on models made for distribution in different countries, and those are highly regulated by governments. The coffee used was imported from different countries and involved trade agreements, tariffs, and export/import taxes. Because the coffee maker was sold in so many countries, it would also have been subject to import taxes, and sales tax was collected in many places it was sold.

UNDERSTAND THE CONTEXT OF THE OBJECT Collect up to four images of alternatives from the same time period.

Describe one of the alternative objects. WIGOMAT COFFEE MAKER, 1972

28. How are the objects the same (cost, availability, materials, manufacturing/production)? Both machines are made of similar materials (plastic, glass, metal), and both machines are German, and were available in the same areas, distributed through the same retail venues, intended for the same users.

29. How are the objects different (cost, availability, materials, manufacturing/production)? Though I can’t ﬁnd its original sale price, the Wigomat must have been less expensive than the Braun KF20. There is no similarity in aesthetics between the two; the Wigomat is a machine, produced almost without consideration of aesthetics.

30. Who would use the alternative (consider genders, geographies, abilities, age)? The Wigomat introduced drip coffee making when in 1954. Until the Braun KF20, it seems to be the only electric home drip coffee maker. As a result, it had a reputation and customer base. The same users would have bought the Wigomet, though I suspect they were excited to have an alternative when the KF20 came along. 31. Do the two objects appeal to the same taste? There is no taste involved in the Wigomat; it is a machine to make good coffee. I suspect people who could afford it, and who cared about the quality of their morning coffee, were not happy with how it looked in their kitchens. The Braun KF20 is a clear, public expression of taste. So although the same people would want either device for its function, there is no real comparison of them possible on a taste-only basis.

UNDERSTAND THE HISTORY OF THE OBJECT Collect up to four images of previous and/or later versions.

Describe what came before and after. 32. When were the alternatives made? c. 1650, 1889, 1941, 1958 33. How has the object changed over time? The method of coffee extraction evolved from in-pot mixing of hot water with ground coffee, with no straining involved (15th - 17th centuries) but full steeping, to percolation (boiling water in a stove-top pot to force it through the coffee grounds which are contained in a metal filter chamber) in 1880 with limited steeping, to pouring water (boiled in a kettle) over coffee grounds in a paper filter to make “drip” coffee (1941) which controls steep time for better flavor, to having one unified electric machine that boiled water, poured it over coffee grounds, and filtered the coffee into a pot (1958) for perfect coffee. In short, no heat or filtering, no heat but filtered, no heat but filtered and better tasting, and finally heat, filtering, and flavor.

34. How has the use of the object changed over time? The earliest coffee pots created coffee event (preparation and consumption happen at the same time). With electricity, it was possible to make coffee and keep it warm for later (or continual) use. Also, clean up after making coffee is simpliﬁed with grounds in a removable container or disposable ﬁlter.

35. How has the user of the object changed over time? The culture of coffee consumption, and the “connoisseurship” involved in coffee culture, were the direct result of advances in home coffee brewing. As a result, the user has become a coffee snob, with expectations of ﬂavor and consistency that would have been unthinkable before. As coffee growing and distribution advanced, coffee went from an exotic “foreign” drink enjoyed occasionally to a normal part of daily life. Although the person drinking coffee in 1650 and today might not be very different, the role coffee plays in their day to day life is quite changed.

36. Where have these objects been used over time? All of the objects chosen were designed for home use. There is a world of industrial coffee makers designed for commercial use, not included in this investigation.

37. How did technology or new materials change this object? Coffee making did not change substantially until the advent of electricity. When heating could could be included in a coffee maker, the process of making and serving coffee were combined into one device. Before that, a separate kettle for heating water and a pot for steeping and serving were needed. Borosilicate glass, introduced into coffee makers in the early 1900s, allowed for brewing and serving to happen in the same container, though heating the water was still a separate process. With the addition of injection molded heat-resistant plastics, electric coffee makers could be produced in larger quantities, less expensively.

38. Did changing social structures affect the use of this object? As social mobility from the 18th century onwards allowed the growth of a larger middle class, more people could afford luxuries like coffee, a drink that requires an extensive network of global trade, exotic contents, detailed processing, and speciﬁc equipment.

39. Did changing social structures affect the perception of this object? I think the opposite could be claimed; by consuming coffee, and as coffee culture developed, consuming “the right” coffee became a statement of social superiority, allowing people to claim the appearances of a different social structure.

40. Did legal requirements or trade agreements change these objects over time? Since its beginnings in 15th century Arabia, the coffee industry has involves a complex network of global trade. In the 16th century, nations able to grow coffee (Persia, Egypt, Syria, Turkey) created a healthy global trade industry. European nations with coffee-growing colonies in the 17th century (England, Holland, France, with colonies in Java, Indonesia, Sumatra, Celebes, Martinique, the Caribbean, South and Central America) introduced complicated import and taxation laws. With the addition of electrical components, many layers of legislation were added to the manufacturing of coffee makers. UL approval, electrical inspections, pre-manufactured parts would all inﬂuence manufacturers. Global distribution systems include import and export regulations and taxes that all affect manufacturing and distribution. Braun KF20 Bibliography July 28, 2015

Information

Books: Fiell, Charlotte and Peter. Industrial Design A to Z. Köln: Taschen, 2000, 2006 Polster, Bernd. Braun: Fifty Years of Design and Innovation. Stuttgart: Edition Axel Menges, 2009

Websites: “KF 20 Coffee Makers.” Alien Explorations. 22 December, 2009. Date accessed: July 25, 2015. http://alienexplorations.blogspot.com/1979/05/kf-20- coffee-making-machine.html “Womit Alles Begann.” Wigomat - die erste Filterkaffeemaschine. Date accessed: July 25, 2015. http://wigomat.de/index.html “1970’s Appliances Including Prices.” The People History. Date accessed: July 25, 2015. http://www.thepeoplehistory.com/70selectrical.html “Sunbeam Hot Shot Hot Beverage Maker.” Click Americana. Date accessed: July 25, 2015. http://clickamericana.com/topics/food-drink/sunbeam-hot- shot-hot-beverage-maker-1974 “The History of Coffee.” National Coffee Association. Date accessed: July 25, 2015. http://www.ncausa.org/i4a/pages/index.cfm?pageID=68 Stamp, Jimmy. “The Long History of the Espresso Machine.” Smithsonian. June 19, 2012. Date accessed: July 25, 2015. http:// www.smithsonianmag.com/arts-culture/the-long-history-of-the-espresso-machine-126012814/?no-ist Noe, Rain. “A History of Braun Design, Part 4: Kitchen Appliances.” Core 77. May 29, 2013. Date accessed: July 25, 2015. http://www.core77.com/posts/ 24950/a-history-of-braun-design-part-4-kitchen-appliances-24950 “Syphon-Action Coffee Infuser, c. 1855.” Science Museum. Date accessed: July 25, 2015. http://www.scienceandsociety.co.uk/results.asp? image=10186631&itemw=4&itemf=0001&itemstep=1&itemx=6 “Cona Coffee Maker, c. 1950.” Science Museum. Date accessed: July 25, 2015. http://www.scienceandsociety.co.uk/results.asp? image=10308047&itemw=4&itemf=0001&itemstep=1&itemx=4 “Sunbeam Hot Shot Hot Beverage Maker (1974).” Click America. Date accessed: July 25, 2015. http://clickamericana.com/topics/food-drink/sunbeam- hot-shot-hot-beverage-maker-1974 “Wigo Wigomat.” Alte Kaffee Maschine. Date accessed: July 25, 2015. http://altekaffeemaschine.de.tl/Wigomat.htm “Peter Schlumbohm, Chemex Coffee Maker, 1941.” MOMA.org. Date accessed: July 25, 2015. http://www.moma.org/collection/works/1847?locale=en “Gerhard Marks, Wilhelm Wagenfeld, Sintrax Coffee Machine, c. 1925.” MOMA.org. Date accessed: July 25, 2015. http://www.moma.org/collection/ works/2174?locale=en

Patents: Hathaway, Mabvin P. 1880. Coffee-pot attachment. US Patent 228,632A, filed December 22, 1879, and issued June 8, 1880. Matthes, C. Frederick. 1880. Coffee-pot. US Patent 227,805A, filed March 17, 1880, and issued March 17, 1880. Hanson, Goodrich. 1889. Coffee-pot. US Patent 408,707A, filed January 12, 1889, and issued August 13, 1889. Wilcox, Albert C. 1932. Automatic Electric Drip Coffee Maker. US Patent 1,962,165A, filed July 20, 1932, and issued June 12, 1934. Florian, Seiffert. 1972. Combined coffee mill and grinder. US Patent D223,425S, filed November 16, 1970, and issued April 11, 1972.

Images

Websites: http://www.lauritz.com/en/auction/dieter-rams-og-ﬂorian-seiffert-braun-aromaster-kf20/i3192026/#. Date Accessed: July 24, 2015. http://www.dasprogramm.org/electrical/household/braun-kf-21-aromaster.html. Date Accessed: July 24, 2015. http://seeklogo.com/braun-logo-22211.html. Date Accessed: July 24, 2015. http://www.advertisingarchives.co.uk. Images 30550716, 30550715, 30550714. Date Accessed: July 24, 2015. Germain, François. Coffeepot. 1757. Silver with ebony handle. Metropolitan Museum of Art, New York. Coffee pot. 19th century. Copper. Metropolitan Museum of Art, New York. Coffee pot. 1650–1675. Porcelain with silver. Metropolitan Museum of Art, New York. Behrend, Gerhard. Coffee Maker. 1914. Borosilicate glass and metal. Museum of Modern Art, New York.

Ebay listings, accessed: July 24, 2015: http://www.ebay.com/itm/Vintage-BRAUN-KF-20-Coffee-Maker-in-Orange-F-Seiffert-Panton-Era-1970s-Germany-/261979890525?hash=item3cff37e35d http://www.ebay.com/itm/Vintage-BRAUN-KF-20-Coffee-Maker-in-Orange-Panton-era-/131527914924? pt=LH_DefaultDomain_0&hash=item1e9facb5ac&nma=true&si=IBbijtZM6d3Kdf8TiPgYUfQ51o0%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 http://www.ebay.com/itm/Vintage-BRAUN-KF-20-Coffee-Maker-in-Orange-Panton-era-/131527914924? pt=LH_DefaultDomain_0&hash=item1e9facb5ac&nma=true&si=IBbijtZM6d3Kdf8TiPgYUfQ51o0%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 http://www.ebay.com/itm/BRAUN-KF-20-Kaffemaschine-Olivgrun-/281746040952? pt=LH_DefaultDomain_77&hash=item41995f6878&nma=true&si=IBbijtZM6d3Kdf8TiPgYUfQ51o0%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l255 7 http://www.ebay.com/itm/70-s-BRAUN-Design-KAFFEEMASCHINE-Aromamaster-KF-20-Orange-/131531028917? pt=LH_DefaultDomain_77&hash=item1e9fdc39b5&nma=true&si=IBbijtZM6d3Kdf8TiPgYUfQ51o0%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l255 7 http://www.ebay.de/itm/Braun-Kaffeemaschine-KF-20-mit-kleinen-Mangeln-und-deutlichen-Gebrauchsspuren-/121713765427?hash=item1c56b4ac33 http://www.ebay.de/itm/BRAUN-KF-20-Kaffemaschine-Olivgruen-/281746040952? pt=LH_DefaultDomain_77&hash=item41995f6878&nma=true&si=CUmqcfiro4pbS0ixLcHkJLR%252BBjU %253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 http://www.ebay.de/itm/Braun-Aromaster-KF-20-Design-Klassiker-/311374441239? pt=LH_DefaultDomain_77&hash=item487f5ceb17&nma=true&si=CUmqcfiro4pbS0ixLcHkJLR%252BBjU %253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 http://www.ebay.de/itm/70-s-BRAUN-Design-KAFFEEMASCHINE-Aromamaster-KF-20-Orange-/131531028917? pt=LH_DefaultDomain_77&hash=item1e9fdc39b5&nma=true&si=CUmqcfiro4pbS0ixLcHkJLR%252BBjU %253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 http://www.ebay.de/itm/Kultiger-70-er-Jahre-Kaffeemaschine-BRAUN-KF20-in-orange-/131519280468? pt=LH_DefaultDomain_77&hash=item1e9f28f554&nma=true&si=CUmqcfiro4pbS0ixLcHkJLR%252BBjU %253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 http://www.ebay.de/itm/Kultiger-70-er-Jahre-Kaffeemaschine-BRAUN-KF20-in-orange-/131519280468? pt=LH_DefaultDomain_77&hash=item1e9f28f554&nma=true&si=CUmqcfiro4pbS0ixLcHkJLR%252BBjU %253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 http://www.ebay.de/itm/Braun-KF-20-/321755685625?pt=LH_DefaultDomain_77&hash=item4aea2222f9&nma=true&si=CUmqcfiro4pbS0ixLcHkJLR %252BBjU%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 http://www.ebay.de/itm/Braun-Kaffeemaschine-KF-20-Der-Designklassiker-der-70er-TOP-Florian-Seiffert-/121660095828? pt=LH_DefaultDomain_77&hash=item1c5381bd54&nma=true&si=CUmqcfiro4pbS0ixLcHkJLR%252BBjU %253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 http://www.ebay.de/itm/BRAUN-KF-10-20-KAFFEEMASCHINE-ANDERTALB-MAL-DER-KNALLER-/161720224848? pt=LH_DefaultDomain_77&hash=item25a746cc50&nma=true&si=CUmqcfiro4pbS0ixLcHkJLR%252BBjU %253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557