Spindle ClockPrice: $550.00
Design by George Nelson, 1948.
Spindle dowels in polished, solid walnut create a dramatic backdrop and not-to-be-missed hour markers for this wall clock. Contrasting hour and minute hands. Designer George Nelson's original design has been recreated with the finest attention to detail and original drawings.
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): Aluminum and solid walnut
Dimensions: 22.7" Dia x 2.2" D
Great, original design
By: Linda M., Designer (Bloomfield Hills, Mi,usa)
Accent piece and , of course, great utilitarian usage.
I loved it and so did they!
By: Irene C., Homeowner (California)
I saw theses clocks a year ago and kept them in mind as Christmas gifts for my adult kids. They were a hit. Y living got them there on time even though I was a bit late in ordering and my contact with them was great.
By: D. L., Homeowner (Seattle)
Pictures really do not do this clock justice. The workmanship is top notch, and the materials are great quality. It was expensive, but I'm glad I got it.
Great Product But Delivery Problems
By: J.M., Homeowner (Brooklyn, NY)
I love this clock and its midcentury modern design. However, it was an ordeal getting the clock, which caused a bit of a headache. Although YLiving had my correct address, Vitra forwarded the wrong street address to UPS. After about 10 calls to UPS and a discussion with a UPS deliveryman, I was finally able to locate the clock just before they were going to send it back to YLiving. The clock itself is terrific. Hopefully, the delivery problems were an unusual mistake that doesn't happen too often.
Nelson's spindle clock is a beautiful and timeless design.
By: John M., Designer (Woodway, Texas, united states)
Being a huge fan of mid century designs, I love the classic look of the clock. I was amazed at how well it is constructed with the brass body and solid wood spindles. It is definitely a piece that I will cherish for decades to come.
By: James G., Designer (Houston, tx)
Customer service excellent product is perfect!
It looks awesome, makes an impact, and really helps fill out a room.
By: Jason T., Homeowner (Mount Pleasant, Michigan)
Why pay so much for this clock? Because you will look at it every day for the rest of your life and then whoever inherits it will do the same. It really brings beauty and character (and hence joy to the owner) to our house. I'm also certain it will hold its value well if we ever do change our tastes from mid-century modern to something else.
One of my favorite Vitra pieces
By: Amille76, Designer (Los Angeles)
This highlights the wall in such a simple way. I smile every time I look at it.
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."
An early zap came in the 1930s, when he was an architectural student in Rome. Before returning home, an idea struck him: He would travel Europe and interview leading modern architects, hoping to get the articles published in the U.S. He succeeded, and in the process introduced the U.S. design community to the European avant-garde. This set in motion a sequence of what he called "lucky" career breaks that were really the inevitable outcomes of his brilliance as a designer, teacher, and author.
The first break was being named an editor of Architectural Forum magazine. Working on a story there in 1942, he was looking at aerial photos of blighted cities when--zap!--he developed the concept of the downtown pedestrian mall, which was unveiled in the Saturday Evening Post.
Soon after, another zap led to the Storagewall, the first modular storage system and a forerunner of systems furniture. The Storagewall was showcased in a 1945 Life magazine article, causing a sensation in the furniture industry. Herman Miller founder D.J. DePree saw the article and was so impressed that he paid a visit to Nelson in New York and convinced him to be his director of design, which spurred Nelson to found his design firm, George Nelson & Associates. The warm personal and professional relationship between Nelson and DePree yielded a stunning range of products, from the playful Marshmallow Sofa to the first L-shaped desk, a precursor of today's workstation.
Nelson once wrote that Herman Miller "is not playing follow-the-leader." That's one reason why George Nelson & Associates worked with Herman Miller for over 25 years as they shepherded design into the modern era.
During this same period, George Nelson & Associates also created many landmark designs of products, showrooms, and exhibitions for a variety of companies and organizations.
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.
Prix de Rome for architecture, 1932
Best Office of the Year, New York Times, 1953
Gold Medal, Art Directors Club of New York, 1953
Good Design Award, Museum of Modern Art, 1954
Trailblazer Award, National Home Furnishings League, 1954
Chairman, International Design Conference in Aspen, 1965, 1982
Scholar in Residence, Smithsonian Institution National Museum of Design, 1984
Lifetime Achievement Award, American Institute of Graphic Arts, 1991
Permanent collections of the Museum of Modern Art, Brooklyn Museum of Art, Philadelphia Museum of Art
Nelson did so as few are able, and, with the help of well-timed zaps, he helped define modern, humane design.
- from HermanMiller.comView other products by George Nelson
Classic. Modern. Sustainable.
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