Design by George Nelson, 1948.
It is what it is: a bold, familiar form made extraordinary by the creativity of George Nelson. Black lacquered wood Asterisk face with chunky, angular hands for easy time-telling and a singular look.
With the diversity of materials used and their sculptural shapes, Nelson's clocks embody the joie de vivre of the 1950s. To this day, his wall clocks remain a refreshing alternative to the usual timekeepers. The Vitra Design Museum presents a re-edition of the designs so cherished by collectors in true to the original form. Vitra Design Museum Collection.
Material(s): Lacquered wood and metal, high-grade quartz clockwork
Dimensions: 9.8" Dia
Art? Clock? Both!
By: J.O., Homeowner (Minneapolis)
My 9 year old daughter summed it up the best when explaining this clock to her 6 year old sister, "It's not a clock, it's art!" I did explain that it was both a clock and art, but I thought that description was perfect. Although it is a little smaller than some of the other Nelson clocks, it really has a great presence and can occupy a lot of space with its' unique design. It is the only thing on a good sized wall at our house and looks really good (especially above an Eames LCW).
Designer: George Nelson
When writing about the course of his remarkable 50-year career, George Nelson described a series of creative "zaps" — moments of out-of-the-blue inspiration "when the solitary individual finds he is connected with a reality he never dreamed of."
Nelson said that for a designer to deal creatively with human needs, "he must first make a radical, conscious break with all values he identifies as antihuman." Designers also must constantly be aware of the consequences of their actions on people and society. In fact, he declared that "total design is nothing more or less than a process of relating everything to everything." So he said that rather than specializing, designers must cultivate a broad base of knowledge and understanding.
Nelson did so as few are able, and, with the help of well-timed zaps, he helped define modern, humane design.View other products by George Nelson
Vitra has manufactured furniture designs by Charles & Ray Eames and George Nelson since 1957. Building on this foundation, Vitra has developed a wide range of furnishings for the office, for the home and for public spaces in collaboration with progressive designers. Yet Vitra is more than just a design-oriented manufacturing company. The name also stands for the Vitra Design Museum, for a collection of modern furniture and its accompanying archive, for workshops and publications on topics of design, and for an architectural concept that unites buildings by Frank Gehry, Nicholas Grimshaw, Zaha Hadid, Tadao Ando, Alvaro Siza, Herzog & de Meuron and SANAA at the Vitra Headquarters in Birsfelden (Switzerland) and on the Vitra Campus in Weil am Rhein (Germany).
Product longevity is central to Vitra's contribution to sustainable development; short-lived styling is avoided at all costs. This can be seen most clearly in the classical pieces of furniture that have been used for decades, had several owners and have then even ended up as a part of a collection. For Vitra, the manufacture of sustainable products means intense pre-production development, where the highest-grade materials are selected and tests are carried out that simulate 15 years of use. In order to enforce and monitor sustainable development in all business activities of the company, a work group was formed in 1986 by the name of 'Vitra and the Environment'. Because of this, Vitra can proudly claim that it has been dedicated to sustainability for nearly a quarter of a century.View other products from Vitra