Some things are cool – even if you don’t know it yet. Andrew and I have prepared some stories today about some things you are probably familiar with but probably don’t actually know the whole story. We have each selected two things and we are going to share with you what we believe are some amazing stories … Welcome to EP 162: Objects of Design
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Today we are going to share with you something we feel is meaningful to us and why, maybe, it should be meaningful to you. Rather than making this a list of things we like – and by extension – things we think you should like as well, we are going to dig a bit deeper and talk about the story behind each item we discuss today. In a sense, it’s that story that should make today’s podcast interesting … just that fact that WE think it’s interesting probably isn’t good enough, so we are stepping up our game.
Objects of Design – Bob #1 jump to 2:30
The Coca-Cola bottle is one of the most recognizable designs in the world, and this story kicks off in 1915, at a time when Coca-Cola was exploding in popularity across the U.S. But they had a problem: competitors were copying their bottles and confusing consumers. They needed something unique, a design that wasn’t just about looking different, but one that could be identified by touch alone!
That’s when Coca-Cola issued a design challenge to glass manufacturers: come up with a bottle that would stand out, even in the dark or if it shattered on the ground. Enter Earl R. Dean from the Root Glass Company in Terre Haute, Indiana. His team turned to an unexpected source of inspiration—the cocoa pod. Sure, the sexy and curvaceous cocoa pod had nothing to do with the ingredients of Coca-Cola, but it had the perfect form and ridges that made for a unique, tactile experience. The result? The “contour bottle,” a masterpiece of industrial design. Its exaggerated curves and slim waist immediately set it apart from anything else on the market. Patented in 1915, by 1916 it became the Coca-Cola bottle—the one we all know today.
But the story doesn’t end with the creation of this iconic design. In fact, things really start getting interesting right around this point.
A Global Symbol and Wartime Necessity
As Coca-Cola became a part of everyday American life, it wasn’t long before it spread globally. And during World War II, Coca-Cola made a brilliant strategic move: they supported American troops by providing them with Coca-Cola wherever they were stationed. They even set up mobile bottling plants in war zones to make sure soldiers could get “a taste of home,” no matter how far from home they were. This wasn’t just about quenching thirst; Coca-Cola became a symbol of American culture and morale during one of the darkest periods in history.
By the end of the war, Coca-Cola had solidified its dominance, but with that success came new problems. Overseas, as Coca-Cola became a prized commodity, counterfeiters jumped at the chance to exploit its popularity. What’s even more fascinating (and scandalous) is just how involved the black market became in producing fake Coca-Cola. This is one of those lesser-known stories, but at the time, it had a major impact.
The Black Markets and Counterfeiting Rings
During WWII, many countries were hit with strict rationing and import restrictions, especially those under the control of the Axis powers (Germany, Italy, Japan). Western goods became scarce, and Coca-Cola was no exception. But where there’s scarcity, there’s demand—and the black market was all too happy to step in. In regions where American goods were banned or heavily restricted, underground factories started churning out fake Coca-Cola. These counterfeit operations were selling everything from watered-down soda to dangerous concoctions disguised as Coca-Cola, charging sky-high prices on the black market.
Here’s the kicker: Coca-Cola’s iconic bottle design was both a blessing and a curse. On one hand, it made the real thing easy to spot in a sea of knockoffs. On the other, counterfeiters began mimicking the contour shape, producing knockoffs that were hard to distinguish from the original. And the most outrageous part? In occupied Europe, some of these black-market operations were run by organized crime syndicates who used Coca-Cola as a front for smuggling contraband—everything from weapons to drugs to secret messages. Some fake Coca-Cola bottles were even used for espionage purposes. Imagine that: a simple soda bottle becoming an unlikely tool of wartime espionage. And yes, in some cases, even Nazi soldiers unwittingly drank the counterfeit product.
These black-market rings didn’t disappear after the war either. As Coca-Cola expanded into developing countries during the Cold War, counterfeiting ramped up in places where the genuine article was difficult to get. Coca-Cola had to pour resources into protecting its brand, suing counterfeit operations, and going after rogue bottlers in regions where they expanded.
Post-War Coca-Cola and Its Cultural Legacy
Despite all the drama with counterfeiting and the black market, Coca-Cola came out of the war stronger than ever. The bottle that had once been the target of so much imitation was now a global icon. In the years following the war, the Coca-Cola bottle wasn’t just a container for soda—it was a symbol of freedom, democracy, and American culture. It made appearances in ads, films, and pop art. Andy Warhol immortalized it in his paintings, turning the simple bottle into a symbol of American consumerism in the 20th century.
Today, the Coca-Cola bottle is more than just packaging; it’s a design object with a rich, layered history. It’s where branding, industrial design, and global politics intersect. From black-market espionage to pop-culture stardom, it’s a reminder of how even the most mundane objects can take on extraordinary significance given the right circumstances. Whether in times of war or peace, the Coca-Cola bottle remains one of the world’s most recognizable and celebrated design icons.
Supporting Links and References:
Coca-Cola’s historical significance and the bottle’s origin story: https://www.coca-colacompany.com/about-us/history/the-history-of-the-coca-cola-contour-bottle
Coca-Cola sold in glass bottles for the First Time: https://www.history.com/this-day-in-history/coca-cola-sold-in-glass-bottles-for-first-time
Objects of Design – Andrew#1 jump to 21:38
My first Object is one that I had when I was probably in my early teens. It was a very popular item in the 1970s and 80s. The object is typically called a “Flip Clock” but also is known as a “flap clock” or even a “split-flap clock.” I have always thought this was a very interesting and simply cool design for time keeping. The version that I owned was probably a Sony or Panasonic brand that also included an AM/FM radio. Originally I supposed that this was a creation of the 1950s or 60s. But I would soon learn how incorrect I was. The first version of this flip style clock was created 1890 in Germany by Austrian watchmaker Josef Pallweber. He created a jump-hour mechanism that was the early predecessor to the flip clock technology. It was used in pocket watches and also produced in aa large clock format by Lenzkirch Clock Factory between 1893-1894.
The next phase of development was not much later as a mechanism was patented in 1903 by Friedrich W Heine. This mechanism did use a flap system to display time and worked with a rotating mechanism. This could be considered the first version of the modern style flip clock. Then in 1920 an American Eugene Fitch patents the rotating drum clock. The style of clock then goes along for several decades before there is resurgence in 1956 when Italian architect and designer created the Cifra 3 flip clock. This new sleek modern version introduced the split flap version where each of the numbers are all separate and split into separate flipping mechanisms. This clock design was thrust into mainstream culture due to its “big brother” the Cifra 5 that was used in airports, train stations, and schools and other methods of publicly displayed time pieces. The Cifra 3 is the version that most people probably imagine when thinking of a flip clock. The Cifra 3 is considered the height of flip clocks and has an original versions kept in the permanent collections of Museum of Modern Art in New York and the Design Museum of London.
This design hid the flipping drum mechanism within a cylinder type enclosure that would eventually be replaced by a “box” style enclosure as the clock worked into mass production. In the 1960s, 70s, and 80s many manufacturers produced flip clock for public consumption. Companies like Panasonic, Sony, GE, and Toshiba began producing affordable pieces for consumers. Again many of these began to incorporate elements like radios, glowing numbers, or lighted versions. Eventually in the mid-1980s the flip clock begins to be replaced with true digital LED and LCD digital clocks. I am sure we all can remember those red light numerical clocks as well. In 2018, the Cifra 3 clock began production again and can be purchased for a pretty penny of $600. Feel free to send me one as a holiday gift. I think this style of time-keeping device is definitely a unique Object of Design and I was astounded by its early origins and extensive history. So much so, that as mentioned in the podcast, there are now “digital” versions of this device on your phone or tablet. Iconic.
Objects of Design – Bob #2 jump to 31:18
Fuller, an architect and inventor, always aimed to rethink how we live, and in 1945, he introduced the Dymaxion House. It wasn’t just a futuristic home—it reflected his belief in making things more efficient, sustainable, and accessible. The house was meant to be lightweight, affordable, and mass-produced, and it challenged the post-war housing trends in America.
The Dymaxion House stood out because it wasn’t just a design—it was a vision for doing more with less. The house was built almost entirely from lightweight aluminum, which was plentiful after WWII due to leftover aircraft materials. Fuller imagined this house being produced like a car and shipped worldwide for easy assembly. The round, aerodynamic shape wasn’t just for looks; it helped with energy efficiency, and the entire house was supported by a central mast, with walls and floors radiating outward like spokes on a wheel. There were plenty of features that were ahead of their time, like built-in air conditioning, double-pane windows for insulation, and even a rotating closet and self-cleaning bathroom. There was a greywater system, a packaging commode and a “fogger” (which apparently was made up of a compressed air system and water-degreaser) to replace showers.
Diameter: 35 feet (10.7 meters)
Height: 12 feet (3.7 meters) from floor to ceiling
Total Floor Area: Approximately 1,017 square feet (94.5 square meters)
Central Support Mast Height: 25 feet (7.6 meters), which supported the structure
However, the project’s timeline was riddled with complications:
- 1945: Fuller first designed the Dymaxion House, envisioning it as a solution to the post-war housing shortage. He intended to make use of surplus aluminum, much of it left over from aircraft manufacturing.
- 1946: Fuller began collaborating with Beech Aircraft Corporation to explore the feasibility of producing the house at scale. This marked the height of Fuller’s attempts to create a mass-produced house.
- 1948: The first prototypes were built, though they quickly revealed issues. Despite their innovative concepts, they faced technical challenges, including instability in the central mast and material performance problems.
- 1951: A prototype was constructed on Fuller’s property in Wichita, Kansas. However, this house deteriorated over time, largely due to exposure to the elements and lack of upkeep.
- Late 1950s: The Dymaxion House project ground to a halt due to a lack of industrial support and the ongoing failure of Fuller’s prototypes to perform as intended.
The versatility of the Dymaxion house itself is apparent in the first two prototypes. The indoor type was referred to as the “Barwise” house while the outdoor was marked the “Danbury” house.
Scandals and Setbacks
One of the most surprising setbacks was how the aluminum industry rejected Fuller’s house. You’d think with so much leftover aluminum from the war, they’d be all for it, right? Wrong. The companies were too focused on other industries and didn’t want to back what they saw as a risky and unconventional project. This lack of support created delays that seriously hurt the project’s momentum.
Fuller’s troubles didn’t stop there. His career was full of disputes over intellectual property, and the Dymaxion House was no different. Since his ideas were so out of the ordinary, they were easy to copy, and several companies tried to recreate parts of his design without his permission. Fuller spent a lot of time and energy fighting these copycats in court, which only added to the project’s delays.
Then came the prototypes. On paper, the Dymaxion House was groundbreaking, but in reality, it didn’t quite live up to its promises. The central mast, which was supposed to support the entire structure, wasn’t stable, and some parts of the house started to sag or misalign. The lightweight aluminum didn’t perform well in certain weather conditions, and Fuller’s futuristic self-cleaning bathroom? It was a disaster, with plumbing issues making it nearly unusable.
One of the more disappointing stories involves a prototype Fuller had moved to his family property. Despite its claims of durability, the house started deteriorating due to weather exposure and a lack of maintenance. This was supposed to be a symbol of innovation, but instead, it turned into a rusting example of unfulfilled potential.
Internal Conflicts and Public Criticism
Fuller’s strong personality didn’t help matters. He was known for sticking to his vision no matter what, which led to conflicts with manufacturers, investors, and colleagues who questioned the practicality of his designs. Fuller’s refusal to compromise made it difficult to get the support he needed to take the Dymaxion House into full production.
At the same time, the architectural world wasn’t exactly kind to Fuller. Many architects thought his ideas were too futuristic and disconnected from what people needed in their day-to-day lives. The house’s round, “flying saucer” look didn’t win it many fans either, and some critics dismissed Fuller’s work as more of a fantasy than a practical solution to housing problems after WWII.
The Legacy
The Dymaxion House’s failure wasn’t just about a lack of materials or technology—it was also about Fuller’s struggle to navigate the commercial world and protect his ideas. He was a visionary, but his vision was ahead of its time. The Dymaxion House didn’t change the housing world like Fuller hoped, but it left behind a lasting legacy of innovation and what could have been.
Supporting Links and References:
Dymaxion House – Buckminster Fuller Institute: https://www.bfi.org/about-fuller/big-ideas/dymaxion-house/
Analysis of the Dymaxion House and its impact on modern design: https://designmuseum.org/designers/r-buckminster-fuller
Objects of Design – Andrew #2 jump to 47:25
My second object is one that I really have not affiliation with but have always found fascinating and mysterious. Like Bob, I think I came across these as the subject of many a heist movie or spoken of in some lost arts of the world documentary. Fabergé eggs are among the most celebrated and intricate creations in the history of jewelry. They were commissioned by Russian Tsars Alexander III and Nicholas II from 1885 to 1917. These eggs were crafted by master jeweler Peter Carl Fabergé for the Imperial family. These eggs had exquisite craftsmanship and each had a hidden surprise—whether a miniature portrait, a delicate model of a royal carriage, or a mechanical toy. Possibly as many as 69 were created, of which 57 survive today. There were originally 52 imperial eggs designed, but only 50 were produced. Other eggs were commissioned by various members of the Russian oligarchy or created by Fabergé himself.
The first imperial egg, the Hen Egg in 1885, was commissioned by Tsar Alexander III for his wife, Empress Maria Feodorovna. It appeared to be a simple white enamel egg, but inside, it contained a golden yolk, and within that yolk, a golden hen. Inside the hen were two additional surprises: a miniature crown and a tiny ruby egg pendant. This first egg captured the Empress’s delight and marked the start of an extraordinary tradition, with Fabergé given complete artistic freedom in the design of subsequent eggs. Over the years, the eggs became more elaborate, incorporating gold, enamel, diamonds, and other precious materials, each with a new surprise inside. These efforts also made Peter Carl Fabergé one of the most well-known and famous jewelers in all of history.
By the time of the Russian Revolution in 1917, Fabergé had created 50 Imperial eggs, many of which are now considered masterpieces of decorative art. Of course, the Revolution brought an end to the Imperial Fabergé egg tradition. The Bolsheviks seized many of the eggs along with other treasures of the Romanov family, selling them to foreign buyers to raise funds for the Soviet government. After that, the eggs were dispersed around the world, with several ending up in the hands of private collectors and museums.
Today, 43 of the original Imperial Fabergé eggs are known to survive or still exist. The largest collection, of ten eggs, is held by the Kremlin Armoury Museum in Moscow. Another significant collection is housed at the Fabergé Museum in St. Petersburg, which displays nine eggs. Other important collections include the Virginia Museum of Fine Arts, which holds five eggs, and the Royal Collection in London, with three eggs. Notable museums like the Metropolitan Museum of Art in New York and the Walters Art Museum in Baltimore also possess Fabergé eggs. Other reside in private collections of wealthy individuals. Many have not been seen for decades but are still known to exist or have been sold over the years.
Despite their dispersal, eight of the original 50 Imperial eggs remain missing, their fates unknown since the upheaval of the Revolution. Some think they may have been melted down for their precious materials, while others think they are hidden in private collections that have never been made public. Others believe they may be buried in Russian bunkers long forgotten. Occasionally new discoveries keep interest alive, like in 2014 when the Third Imperial Egg was found by a scrap metal dealer in the United States, who unknowingly had one of the world’s most valuable objects in his possession. The man purchased the egg at an antique shop in the Midwest US for $14,000. He tried to sell the item for several years and finally broke down and did some internet searching only to discover it could possibly be an Imperial Egg. After flying to London to meet with a Faberge expert, it was confirmed and the egg sold for $33 million. It was on display for several weeks and then has not been seen since its purchase in 2015. (this article gives the story)
So these objects have some interesting history and lore that goes back over a hundred years and still manages to pique the interest of mainstream culture. For this reason, while they may not be for everyone’s taste, they can still easily be considered true Objects of Design.
Would you rather? jump to 56:16
I have slapped together a Would You Rather for today’s show … and I kind of back myself into this one by choosing my answer first..
Would you rather own a private jet or a luxury yacht? All expenses associated with owning and operated are included …
I think this conversation could have gone on longer than it did (since we were short on time) because what makes this question interesting is the consideration between how often would you use on of these items versus the experience received during use. The plane would most likely be the more frequently used item but you still have to have funds to take advantage of your destination, whereas the yacht is less about where you are going and more about the act of moving from one destination to another. I think both have their merits and which one you choose might say a little something about yourself and how you value time and experience.
EP 162: Objects of Design
We hope we’ve given you some insight into these objects or provided some new information that you never even knew! Now you can use these stories the next time your at a cocktail party because these are definitely all fascinating tales of creation and design. The fact that many of these iconic objects also have compelling stories behind them seems to insinuate that greatness comes from struggle, hard work, and a fair amount of happenstance. This is something to always remember as a designer, creator, and architect.
Cheers and stay safe,
Cheers,
