maritime table clock
The design of a clock face has always held appeal to the architect and graphic designer: it's a concise study of line, proportion, font, visual and mechanical precision and the fascinating relationship between art and time.
The space age Maritime clock is a legendary chronometer which was originally sketched by Angelo Mangiarotti in 1956 for a ship. The clock's angles and design bring the viewer closer for a better look.
Angelo Mangiarotti was born in Milan in 1921. He received his architecture degree in 1948 from the Politechnical University of Milan. In 1953-54, while he was a visiting a professor at the Illinois Institute of Technology in Chicago, he met Frank Lloyd Wright, Walter Gropius, Mies van der Rohe and Konrad Wachsmann. With architectural offices in Milan and later Tokyo, Mangiarotti spent many years as a visiting professor for various Universities around the world and finally in 1990 he returned to his Alma Mater as a visiting professor of architecture at the Politechnical University of Milan. Mangiarotti's designs attempt to uncover the intrinsic characteristic of each object, because only "objective" design can avoid misleading the user to become collectively recognizable by overcoming the individual design.
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The space age Maritime clock is a legendary chronometer which was originally sketched by Angelo Mangiarotti in 1956 for a ship. The clock's angles and design bring the viewer closer for a better look.
Angelo Mangiarotti was born in Milan in 1921. He received his architecture degree in 1948 from the Politechnical University of Milan. In 1953-54, while he was a visiting a professor at the Illinois Institute of Technology in Chicago, he met Frank Lloyd Wright, Walter Gropius, Mies van der Rohe and Konrad Wachsmann. With architectural offices in Milan and later Tokyo, Mangiarotti spent many years as a visiting professor for various Universities around the world and finally in 1990 he returned to his Alma Mater as a visiting professor of architecture at the Politechnical University of Milan. Mangiarotti's designs attempt to uncover the intrinsic characteristic of each object, because only "objective" design can avoid misleading the user to become collectively recognizable by overcoming the individual design.
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