Rosendahl is now introducing these clock design icons as wrist watches. The collection has been created in accordance with the original strokes of the master, as scaled-down versions of the wall clocks.
In 1942, the internationally acclaimed Danish architect & designer Arne Jacobsen (1902–1971) created the Roman wall clock for Aarhus City Hall, followed in 1956 by City Hall for Rødovre City Hall. Fifteen years later, in 1971, Arne Jacobsen designed Banker’s for the national bank of Denmark. Today, these three clocks for three striking buildings amount to a substantial contribution to three decades of modernistic design history.
Grand design in a slim package
As with the wall clocks, the dial and the front part of the case are produced as a single piece. Accordingly, the time graduations are imprinted directly on the dial. The wrist watches also have the same concave shape as the wall clocks. Similarly, the watch movement is located at the rear, and this part not only serves to retain the movement but also partly to retain the strap. The black, waxed calf leather strap is held in place using a system specially developed by Rosendahl for the collection.
ARNE JACOBSEN (1902-1971) was one of Denmark's most influential 20th century architects and designers. Both his buildings and products, like his Swan and Egg Chairs, combine modernist ideals with a Nordic love of naturalism.
As an architect and an industrial designer, Jacobsen always strove to achieve this grace and coherence. In the process, he emerged as the single most influential Danish architect of the 20th century and the designer of such modernist classics as the Swan, Egg and Ant Chairs as well as the stainless steel, abstract-shaped cutlery which the director Stanley Kubrick chose as timelessly futuristic props for his film, 2001: A Space Odyssey.
During the 1950s, Jacobsen became increasingly interested in product design inspired by the work of the US furniture designers, Charles and Ray Eames. He was also influenced both by the ideals of his textile designer wife, Joanna, and the Italian design historian Ernesto Rogers, who believed that the design of every element was equally important "from the spoon to the city".
From the 1950s onwards Jacobsen was the dominant figure in Danish architecture, but outside Denmark he made his mark as a furniture and product designer.
Months before his death in 1971, Arne Jacobsen reflected on his career. "The fundamental factor is proportion," he concluded. "Proportion is precisely what makes the old Greek temples beautiful...And when we look at some of the most admired buildings of the Renaissance or the Baroque, we notice that they are all well-proportioned. That is the essential thing."