This book is the autobiography of George Daniels, acclaimed horologist and author of Watchmaking. In it, he discusses his humble upbringing and background, his first encounters with watches and time pieces, his passionate and persistent love of automobiles, and his technical contributions to modern horology, first and foremost amongst these, perhaps, his development of the co-axial escapement. All in Good Time provides an intimate and in-depth look at the life of one of Britain’s most important watchmakers.
Born in Brianza in 1956, Piero Lissoni got his degree in Architecture at the Milan Polytechnical University in 1985; the following year he opened Studio Lissoni in Milan. Lissoni is a proponent of simple, essential lines and his numerous design, architecture and corporate image projects for the principal “Italian Design” producers point to coherence between design, materials and the construction process.
True to the poetic minimalism that distinguishes all his work, Piero Lissoni created a wide variety of functions around a shape that is classic in its own way. All models use the same square-shaped dial, with an emphasis on appearing very clean, simple, and easy to read.
Max Bill considered himself primarily an architect, yet he was also an inventive and tireless creator of type fonts and commercial logos, as well as being a designer with wonderful sense of visual humor – not exactly a common feature of Swiss graphic art, as the publisher (also Swiss) points out. This rich monograph gives Max Bill fans an extensive an inspiring look at works for which he has received little attention, in the fields of typography, advertising and book design. Dimension: 83/4 x 11 inches, English & German Text, 600 color reproductions.
Max Bill was one of the most unusual artists of our time. Acknowledged as a universal genius, he worked as an architect, painter, sculptor and product designer and has left
behind a extensive portfolio of creations. This includes one of the most fascinating watch series ever designed – the wall clocks and wristwatches he created for Junghans – and which remain practically unchanged today. As a Bauhaus student of Walter Gropius, he intuitively understood how to apply the pursuit of constructive clarity and precise proportions to his work. His unrivaled drive to create is also seen in the field of education. He was not only the co-founder and first rector of the Ulm College of Design, but the school building is also a Max Bill original design.
Form follows function The collaboration between Junghans and Max Bill began in 1956 with the design of a kitchen clock which he developed together with his students at the Ulm College of Design. The solution brings to life what Bauhaus functional design is all about. The clock’s circular face with its distinctive numerals features the most logical and most clearly functional of clock shapes. The design of the face cascaded directly into the design of wristwatches in 1961, when Max Bill laid the cornerstone for what was destined to become his celebrated line of watches and which moved on to become true design classics.