P3 Mario Bellini’s TOTEM
The Totem Stereo System with Detachable Speakers (1970) was created by Italian designer Mario Bellini for Italian electronic equipment brand Brionvega. It’s minimalist design and auditory function appeals to those who appreciate music and works to take the listener through a transformative experience. The way it achieves that transformative experience is primarily in the form of the object. It starts off as a cube, and as you open its “wings” (the speakers) it becomes more than it was and allows for the user to begin listening.
This object belongs to the audio technology category because it plays records and radio. What sets it apart from ordinary record players is the way it integrates the speaker system into its design and makes the object more of a statement piece than just a stereo system. As the phonogram, gramophone, and record player evolution has come to be, this object’s place in that journey towards improving auditory experiences pushes the boundaries between sculpture and product design.
Mario Bellini, the designer of the Totem had worked in both architecture and design and brought that background into creating an object whose function revolved around an auditory experience. As a designer, Bellini is renowned for his exploration of form in the furniture arena as well as in architectural design. As I learned more about his design work, I became curious about the way he would transform some of the simplest and fundamental shapes into something that looks good at any angle.
As a Brionvega product, it was manufactured in Italy with premium materials. The intended client would be middle-class music consumers based on the prices of current products from Brionvega. I mean, this stuff wasn’t cheap and collectors are still auctioning and renovating his work, especially his electronic products. This piece is not only for audiophiles but for those who have keen design tastes and are able to afford the work of visionaries.
This product embodies mechanical (because of the way that the mechanisms enable the record to be played) electronic (because of all the wiring and power needed for said record to be heard as well as the radio) and interactive elements (setting the record, moving the speakers, choosing the radio station, opening and closing the stereo “wings”) Seeing as this product is at the center of these three circles, it is important to note that the Totem represents a period of design work where a minimalist aesthetic was to be accompanied by high performing function. Something I would like to see implemented if this product were re-released would be Bluetooth and AUX compatibility as well as a more robust low-end subwoofer.
Record and radio technologies made it possible for this product to exist. The evolution of recording sound waves and reproducing them has led to products such as the Totem to become available for the market. Lacquered wood provided Bellini with the shell that would make the design so iconic. Were this product to be made out of a metal shell, probably aluminum, not only would it be much heavier but it would also be a lot more expensive and the acoustic capabilities and performance would also be affected.
In terms of its life cycle, it’s designed with middle-class music lovers in mind, manufactured in Italy, displayed in department stores and showrooms, bought by the intended consumer, and used for as long as is feasible. I would estimate the amount of time used by the consumer to be at least 5–10 years if not more given the fact that it is well-built and has less of a possibility for mechanical error/breakdown than other mechanical objects. As someone who appreciates good music technology, if I were to have this piece in my home I would incorporate the Totem to be central to a wall because of how I would display it as a statement piece and for it to be positioned for optimal acoustics.
The intended user is pretty much the same as the actual user because it is intended for home listening by middle-class people and both examples from the original time period to current day define that the Totem has preserved its user group. It’s not like these electronic devices were co-opted by the underground economy or used as means to transport illicit substances. The Totem, because of its attention to detail and way of having a high quality craftsmanship, was able to maintain the integrity of its user group.
The ritual of the Totem is what distinguishes the speaker system from its competitors. The speaker must first be opened from its cubic form and then the speaker “wings” must be placed in a way to allow for the record to be inserted. Then the user can adjust the settings of audio playback with the knobs and levels. As that process is finalized to the satisfaction of the user, they can finally relax with the music. This is much different than today’s portable Bluetooth speakers where all you have to do is press a button on the speaker, let it connect to your device playing the music, and begin listening. As someone who is only familiar with the latter form of music consumption, I wonder what it would be like to have to put intention into consuming music with a high fidelity player in the home. Something that continues to spark my interest is the way that Mario Bellini makes the foundational interaction with the Totem mandatory for passive entertainment. In other words, initial efforts transform into a form of relaxing.
I sincerely doubt that this object can be repurposed unless it’s electronic insides and shell are stripped apart and made into their most elementary forms. The wires would need to be extracted and the lacquered wood would need to be pulled apart into just the sheets that made the iconic cube.
This object is part of a minimalist aesthetic because of the form of the cube, one of the most minimal shapes that is unadorned. It’s forms are clean, rectilinear, and easy to read and use. Something that would be adjacent to the Totem’s minimalist design would be the Helvetica font because of its clean lines, horizontal cutoffs, and superb use of negative space. As a part of the broader minimalist movement that prioritizes the essentials and making the most out of the least amount of material possible, I feel that the Totem is an object that encompasses what it means to be part of a movement that is all about transformative imagination. Taking the six planes of a cube and making something beyond that is an example of said transformative imagination.
This object is not necessarily overtly gendered, however because of the history of cisheteropatriarchy and the implications of income inequality, the customer base of this product would be inclined to be male because of the price point and who was the main consumer group of high fidelity audio equipment. Although it was a high-end Italian product, I feel that the Totem would excel in any cultural environment because of the way it presents itself as neutral, unassuming, unobtrusive yet bold when unlocked to its full potential.
The most political act involved with products like these is the content that is projected by the stereo system and how the user reacts to it. If the music listened to by the user is created by someone sympathetic to fascism, or if the music listened to by the user is about liberation, then the Totem stereo system is an amplifier of the voice of the artist. I feel that the actual artifact of the Totem itself also holds political significance. It is a high-end product that is inherently elitist in its price point and excludes a vast majority of people who cannot prioritize such products in their budget. Another aspect to consider is the way that high-end products are inherently political in the way that they are manufactured and consumed. Whose hands are used to make products like these? Can the miners of the raw materials needed to make the electronics used for this product afford the Totem? The divide between those who are able to benefit from the experience of consuming media from the Totem and the people who were responsible for making them is something to consider for all product designers.
This design might have been improved if it had been larger because it would have allowed for the top half (the speakers) to have better low-end capability for the subwoofers since that has been an issue discussed in the auctioneer websites. I would have also liked to see more than just the white colorway with earth tones as well as bright yellows, oranges, and blues. If this product were to be introduced in today’s market I would expect it to have Bluetooth capabilities as discussed earlier and also the ability to connect to a sibling Totem if someone was able to afford two of them or could borrow a friend’s. This would look like the the two Totems facing each other in opposite sides of the room and be able to create a surround sound.
When the stereo system is closed, it is a smooth cube as shown in the image. Once opened, the speakers swivel and resemble wings. This product is important because of the way it combines sculpture and sound and how it presents itself as an essential cubic form and transforms into another. The act of opening the cube, inserting the record, and playing the music necessitates user participation and creates a ritual. Overall, the product is a great piece of modern design and makes a simple shape into something more.
Sources:
https://www.brionvega.it/it/design/prodotti-storici/totem.html
https://www.design-is-fine.org/post/97910611314/mario-bellini-brionvega-totem-rr130-hifi-set
https://www.moma.org/collection/works/1803
https://www.design-mkt.com/85640-vintage-brionvega-totem-rr130-by-mario-bellini-.html
