Kartell Tic & Tac Wall Clock

Kartell is counting the hours and presents its first wall clock. A transparent square "box" measuring 30x30 cm with Roman numerals engraved on the surface encompassing the flat clock face where a slim pair of coloured hands stand out in a chromatic synthesis, transforming time into an aesthetic experience. Tic & Tac is a clock with impressive thicknesses creating a play of lights and reflections. The inimitable hand of Starck is emphasised by the orange hands, one of the designer's colour fetishes. The clock face comes in white and in black or chrome-plated versions in a range of metallic shades.

MEASUREMENTS:

• Width: 30 cm / 11.7 inch
• Height: 30 cm / 11.7 inch
• Depth: 8 cm / 3.1 inch

MATERIALS:

• Transparent PMMA Clock Face and Batch-dyed or Metallic ABS Case

Eugeni Quitllet

Eugeni Quitllet is a Catalan designer, born the 17th April 1972. He uses industrial design and creativity to shape new realities. He synthetizes form and function with an explosive elegance and sinuosity, to create best sellers. His visionary idea of the future aim at bringing to life that which doesn’t exist yet. His design practice is exceptionally diverse, making him a multifaceted creator: a Renaissance man from the future.

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Philippe Starck

France 1949

“I like to open the doors of the human brain” - Philippe Starck

School dropout Philippe Starck jump-started his career by designing two nightclub interiors in Paris in the 1970s. The success of the clubs won the attention of President Francois Mitterand, who asked Starck to refurbish one of the private apartments in the Elysee Palace. Two years later, Starck designed the interior of the Café Costes, in Paris and was on his way to becoming a design celebrity. In quick succession, he created elegant interiors for the Royalton and Paramount hotels in New York, the Delano in Miami and the Mondrian in Los Angeles. He also began to produce chairs, lamps, motorbikes, boats and a line of house wares and kitchen utensils, like his Juicy Salif for Alessi.

During the 1980s and 90s Starck continued his prolific creativity. His products have sensual, appealing forms suggestive of character or personal identity and Starck often conferred upon them clever, poetic or whimsical names (for example, his La Marie chair and playful Prince Aha stool). Starck’s furniture also often reworks earlier decorative styles. For example, the elegant Dr. No chair is a traditional club chair made unexpectedly of injection-molded plastic. While the material and form would seem to be contradictions, it is just such paradoxes that make Starck's work so compelling. Starck’s approach to design is subversive, intelligent and always interesting.

His objects surprise and delight even as they transgress boundaries and subvert expectations. During the 90s Starck has also begun to promote product longevity and to stipulate that morality, honesty and objectivity become part of the design process. He has said that the designer's role is to create more “happiness” with less. For all his fame Starck’s work remains a serious and important expression of 20th century creativity.

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