Ulysse Nardin Torpilleur Military 44mm Bronze – Reference 1187-320LE/63

Ulysse Nardin Torpilleur Military 44mm Bronze

The Ulysse Nardin Torpilleur Military 44mm Bronze is limited to just 300 pieces. It is housed in a bronze case and successfully combines both classical and modern elements to glorious effect. Angus Davies reviews this contemporary chronometer at close quarters.

Bronze timepieces burst onto the watchmaking scene a few years ago. They promised to age gracefully, acquiring a becoming green patina with the passage of time. Some brands with a naval-themed history, authentic or faux, associated their watches with an array of bronze maritime paraphernalia, including bells, sextants and diving helmets.

As time has passed, the public’s appetite for bronze watches has grown exponentially and this popularity shows no signs of waning. Indeed, several brands with no links to the maritime world have showcased bronze watches, no doubt eager to enjoy some of the commercial spoils.

There is no question that Ulysse Nardin has authentic maritime credentials. In the 19th century, the Maison was known for making marine and pocket chronometers. Indeed, such was the firm’s prowess for making marine chronometers that it supplied numerous navies and shipping companies. The luxury marque was synonymous with making highly precise instruments, an essential requirement for safe navigation of the seas. It is this overriding obsession for accuracy which continues to shape the brand’s modern-day products.

The limited-edition Ulysse Nardin Torpilleur Military 44mm Bronze indulges horophiles with a midnight blue dial, bronze case and chronometer status (COSC). It builds upon the success of the steel version, launched at SIHH 2018. As well as unveiling this bronze cased model, the brand from Le Locle has released a further limited-edition model, encompassing a black DLC case paired with khaki details. Both models exhibit a high quotient of military-style, a look much favoured by fashionistas.

Image – Ulysse Nardin Torpilleur Military 44mm – Ref. 1183-320LE/BLACK

While both limited edition models proffer much eye-appeal, I personally prefer the bronze version, as I predict the specification of this variant will prove less susceptible to changing fashions. It is for this reason that I have fixed my gaze upon the warm tones of the Ulysse Nardin Torpilleur Military 44mm Bronze and made it the focal point of this review.

The dial

Ulysse Nardin has shrewdly chosen a ‘midnight blue’ dial. It has a softer complexion than the ubiquitous black dials seen in every jeweller’s window display and happily coalesces with the bronze case.

The spade hour and minute hands evince a classical character. Their sinuous contours exude an air of elegance and the bronze tones beautifully coalesce with the dial and case ensemble. Most notably they proclaim the time clearly and free of ambiguity.

The hours are denoted with Arabic numerals sans serifs. While the hands appear classical, the hour markers are unequivocally modern. However, both dial elements sit together in tasteful concert.

A small seconds display is positioned above 6 o’clock. It features snailing and is framed with a chemin de fer. Located beneath the fulcrum of the subdial are the two letters ‘C.W’, denoting that the Ulysse Nardin Torpilleur Military 44mm Bronze is a ‘Chronometer Watch’. The scale of the small seconds dial is extraordinary, occupying a significant portion of the lower dial area. This scale aids the readability of the indication, yet does not mar the agreeable dial proportions.

A crisp minute track frames the dial’s epidermis, augmenting readability.

The case

The Torpilleur Military is generously proportioned, measuring 44mm in diameter. I found it conferred an incredibly comfortable fit, however, its immensity may prove an issue for diminutive wearers. As with all watches, I would recommend prospective purchasers to try on the watch prior to acquisition.

Since the advent of bronze watches, different brands have selected various types of bronze. Some alloys acquire a patina very quickly, while others age quite slowly. Furthermore, this patination can sometimes resemble verdigris, however, others merely assume a darker tone with time. The bronze on this version of the Torpilleur Military 44mm is comparatively pale and yellow. In addition, the tone of the alloy has a neutral quality, hence the watch should complement a diverse array of garments. 

In my opinion, Ulysse Nardin has chosen a bronze hue which is very attractive and it will be interesting to see how the patination develops over time. The brand has not stated how readily the bronze will form a patina. If the rate of patination is of concern, it may be worth chatting to one of the brand’s authorised retailers and enquiring about the alloy’s behaviour in the long term.

The bezel features a castellated edge, providing a very agreeable tactile encounter. The screw-down crown, featuring the brand’s logo on its vertical flank should mitigate the risk of dust or water ingress.

In some instances, contact with bronze can lead to an adverse reaction. This is because it is estimated that approximately 6% of people suffer from a nickel allergy. However, Ulysse Nardin has equipped the Torpilleur Military 44mm Bronze with a stainless steel case back, mitigating the likelihood of any such problems.

The Ulysse Nardin Torpilleur Military 44mm Bronze is equipped with a solid caseback, endowed with a stamped depiction of a torpedo boat. The watch is fitted with a dark blue veal strap paired with a bronze pin buckle.

The movement

The Ulysse Nardin Torpilleur Military 44mm Bronze features the brand’s trusted Calibre UN-118. This movement has been in existence for a number of years and can be found in an array of models.

The movement features a ‘silicon anchor escapement’. Ulysse Nardin was the first watch brand to use silicon (sometimes termed ‘silicium’) in a watch. Silicon is a glass-like material which is not liable to corrosion and is not influenced by magnetic fields. In addition, silicon can be used to make unusually shaped components that would be impossible to create using traditional materials.

Ulysse Nardin has equipped the Calibre UN-118 with its own type of variable inertia balance. When contrasted with a simple index-adjusted balance, the variable inertia balance delivers superior precision. In addition, the balance is less susceptible to positional errors.

The Calibre UN-118 is COSC certified and has a power reserve of 60 hours.

Closing remarks

In my opinion, the Ulysse Nardin Torpilleur Military 44mm Bronze is a highly practical watch, brimming with military chic. Its scale, spade hour and minute hands and its notably plump hour markers provide peerless readability. The midnight blue dial sits comfortably with the yellowy tones of the bronze case. Ulysse Nardin has skilfully paired shades and textures to comely effect. Quite simply, this is a devilishly handsome timepiece.

The bronze case of the Torpilleur Military is comparatively understated, fair-skinned and, therefore, I expect it will retain its allure better than some of its contemporaries. 

Residing behind a solid cashback, the Calibre UN-118 may be hidden from view, however, its magnificence is already well-known. The silicon hairspring and the variable inertia balance provide a heady mixture, guaranteed to intoxicate most self-respecting horophiles.

Since 1846, the Maison has been known for making highly precise instruments such as marine chronometers. With its COSC certified movement, the Torpilleur Military perpetuates the firm’s enviable reputation for crafting fine, accurate watches.

Further reading
https://www.ulysse-nardin.com/
Technical specifications

• Model: Ulysse Nardin Torpilleur Military 44mm Bronze
• Reference: 1187-320LE/63
• Case: Bronze; diameter 44mm; water resistance 5ATM (50 metres); sapphire crystal to front and solid caseback.
• Functions: hours; minutes; small seconds
• Movement: Calibre UN-118; automatic movement; power reserve 60 hours
• Strap: Dark blue veal strap paired with a bronze pin buckle
• Price: £8,100 including VAT (RRP 11.2.2020)
• Limited Edition: 300 pieces

The post Ulysse Nardin Torpilleur Military 44mm Bronze – Reference 1187-320LE/63 appeared first on Escapement Magazine | Watch news, watch reviews, watch blog.

Arnold & Son Time Pyramid Tourbillon

Arnold & Son Time Pyramid Tourbillon

The Arnold & Son Time Pyramid Tourbillon encapsulates the magic of its 2013 forebear, but features Breguet’s legendary whirlwind and subtly redesigned dial layout. With a predilection for haute horlogerie, Angus Davies could not resist taking a closer look.

Named after the famous British watchmaker, John Arnold, and his son, John Roger Arnold, the luxury brand, Arnold & Son, was ‘relaunched in 1995’. It chose to establish its operations in the watchmaking capital of Switzerland, La Chaux-de-Fonds. Later, in 2010, the Maison became a fully integrated Manufacture, developing and producing its own movements.

Unlike some firms which usually restrict their gaze to the view directly ahead, Arnold & Son has looked to the past, again and again. Old clocks and watches, often English in origin, have proved a rich source of inspiration for the brand. Various mechanisms, first seen in the 18th and 19th centuries, have been adapted and refined for wrist wear.

The Time Pyramid

In 2013, Arnold & Son unveiled the Time Pyramid, a spectacular watch inspired by a British skeleton clock. This clock, dating back to 1830-1845, featured a fusée and chain, a device which delivers a constant force to the escapement, aiding precision.

Image – Time Pyramid

The expansive dial of the Time Pyramid reveals the balance wheel in all its entirety, sitting just below noon. Beneath the balance wheel, the gear train, along with two barrels, are freely disclosed. Each barrel sits in the lower hemisphere of the dial, positioned either to the left or right of the hour and minutes display.

Two, blued serpentine hands, located adjacent 3 and 9 o’clock, reveal the available energy held within each barrel. The hour and minutes are displayed on a sapphire dial, conferring views of the components beneath. A subsidiary seconds dial sits on a lower plane with part of its form located just under the aforementioned hour and minute display.

Image – Calibre A&S1615 (front)

A notable attribute of the Time Pyramid is the symmetrical topography of the dial. Draw an imaginary line from 6 o’clock to noon and then note how each part located on one side of the dial has a matching counterpart opposite.

Image – Calibre A&S1615 (rear)

Since the Manufacture opened in 2010, Arnold & Son has taken an ingenious approach to design. In the first instance, the dial is designed and thereafter an optimally shaped movement is produced. The brand has avoided the idea of adaptation or ‘making do’, repeatedly designing high-end calibres with highly original architecture and perfect proportions. The Time Pyramid upholds this philosophy.

The Time Pyramid Tourbillon – it was meant to be

Over the last decade, Arnold & Son has produced several models endowed with a tourbillon, providing a clear illustration of its technical prowess.

The tourbillon was patented by Abraham-Louis Breguet in 1801. His invention placed the escapement and regulating organ (balance) within a cage, rotating 360° every minute. This ingenious device countered gravity’s adverse influence on the rate, hence aiding precision.

Coincidentally, John Arnold was a close friend of Abraham-Louis Breguet. The pair were said to share trade secrets. Moreover, the two gentlemen entrusted the training of their sons to each other. After John Arnold’s passing in 1799, a grief-stricken Breguet modified one of Arnold’s pocket chronometers, equipping it with his first tourbillon escapement. Breguet gave the watch to John Arnold’s son, John Roger Arnold, in 1808. Today, the watch, measuring 59.3mm in diameter and featuring a silver engine-turned dial, is housed in The British Museum.

Recently, when I saw the Arnold & Son Time Pyramid Tourbillon, I was reminded of the friendship the two men shared and their overriding obsession with precision. This preoccupation with accuracy is manifest with John Arnold’s incredibly precise marine chronometers and Breguet’s legendary whirlwind, a mechanism highly prized by connoisseurs today. Indeed, the creation of this modern-day Arnold & Son provides a fitting tribute to both of these exceptional watchmaking talents. Quite simply, the Time Pyramid Tourbillon was always meant to be.

The dial

Those horophiles who share my fondness for the Time Pyramid of 2013 will no doubt appreciate the appearance of the new Arnold & Son Time Pyramid Tourbillon. At first glance these watches appear almost identical, however, closer inspection reveals subtle differences between the two models.

The hours and minutes are displayed on a sapphire disc, positioned in the lower part of the dial. A rhodium-plated ring frames the dial and features a black minuterie marked with a series of black dots. The hours and minutes are proclaimed with polished and blued arrow-shaped hands featuring openworked tips.

Similar to the Time Pyramid of 2013, various movement components are arranged along a north-south axis. The balance sits at noon, while the twin barrels are positioned in the lower portion of the dial, with the gear train located in between.

The tourbillon cage is beautifully executed with an array of finishes, including chamfered and polished edges, satin-finishes and delightful pockets of mirror-polishing deftly performed by hand. The seconds are now conjoined with the one-minute tourbillon, lucidly conveying meaning. In my opinion, this proves significantly better than the seconds display on the Time Pyramid of 2013 where the indication is partially obscured by the hour and minutes display above.

Despite the Time Pyramid Tourbillon incorporating more complexity, the recto view appears virtually identical to its older sibling, save for some very subtle changes to the gears. Perhaps the most notable difference front of house relates to the power-reserve indicator. The serpentine hands of the original Time Pyramid have been supplanted with straight, blued, arrow-shaped hands. These latter hands are also open-worked, matching the hour and minute hands. While I liked the reptilian profile of the hands employed on the 2013 model, the newer hands prove much neater.

The case

Arnold & Son has indulged aspiring owners with the choice of an 18-carat red gold (5N) case or a slightly more affordable stainless steel option. Irrespective of the material selected, the case is refined to the highest order. The sides eschew straight flanks, instead encompassing intricately curved contours eg the two-step caseband design. The periphery of the caseback features a tapered edge, allowing the wearer’s wrist to readily flex with no suggestion of impediment. By adopting this design language and embracing such complexity, Arnold & Son has certainly increased its production costs. However, the resultant aesthetic proves incredibly attractive, justifying its costly and protracted efforts.

The Arnold & Son Time Pyramid Tourbillon measures 44.60mm in diameter, the same as its older sibling. While the scale of this watch could never be described as compact, it is not cumbersome and feels very comfortable when worn. The thickness of the watch is 10.09mm, a modest figure considering the overall complexity of the watch. The crown is tastefully discreet and sits between the lugs. This unusual positioning heightens the sense of symmetry but without restricting manipulation.

Front of house, the sapphire crystal is cambered and features anti-reflection coating on both sides. The dorsal plane of the case also features a pane of sapphire crystal, granting spectacular front to rear views.

The movement

Once again, Arnold & Son has taken a blank sheet of paper and conceived a new movement, the Calibre A&S8615. Clearly, this movement shares many details with the Calibre A&S1615 fitted to the original Time Pyramid, however, the newer one is not a mere facsimile of the older one.

Image – Calibre A&S8615 (front)

For example, the Arnold & Son Time Pyramid Tourbillon, as its name implies, features a tourbillon cage, positioned at noon. The seconds indication is now part of the tourbillon, rendering the former seconds display redundant. This has led to a different mainplate/bridge design, demonstrating that the Maison did not merely adopt a ‘copy’ and ‘paste’ approach to the design of the Calibre A&S8615.

All Time Pyramid models possess two barrels, arranged in series. Once the mainspring within the left barrel is fully tensioned, the mainspring within the right barrel is wound. Because both barrels are arranged in series, they provide the escapement with a more consistent supply of energy than a single barrel, thereby aiding precision.

Image – Calibre A&S8615 (rear)

One glance at the Calibre A&S8615 will cause any self-respecting horophile to smile with delight. The bridges are beautifully appointed with Côtes de Genève and sport gleaming chamfered edges. The ratchet wheels feature ‘Double Colimaçon’, thermally blued screws abound and the appearance of the crown wheel is enriched with a sunray motif. Sublime finishing is omnipresent. Indeed, Arnold & Son refer to ‘haute horlogerie finishing’ within its press materials and, based on the evidence, its description seems justified.

The hand-wound Calibre A&S8615 has a frequency of 21,600 vph (3Hz) and features 31 jewels. The twin barrels collaborate to deliver 90 hours of autonomy.

Closing remarks

It’s 10 years since Arnold & Son transitioned from a watch brand to a full-blown Manufacture. In that time, the company has repeatedly sought inspiration from traditional clock and watchmaking. Indeed, the Swiss firm has captured the essence of some historical artefacts, distilling its observations and creating highly refined and very wearable watches.

Looking back to the 18th and 19th centuries, it should be remembered that both Arnold and Breguet’s work were the preserve of the fortunate few. Each clock or watch necessitated much effort to bring to fruition, hence both businesses were patronised by royalty, aristocracy and other members of the great and the good. Thankfully, with the advent of today’s CNC machines, superior materials and modern-day know-how, Arnold & Son has democratised horology, positioning its products within close proximity to a greater number of would-be buyers.

The Arnold & Son Time Pyramid Tourbillon is an expensive watch, but its exalted specification precludes bargain basement prices. Furthermore, considering the exquisite finishing and the fact that this watch is a shining example of haute horlogerie, its price is actually very reasonable.

In terms of the Time Pyramid and the newer Time Pyramid Tourbillon, the latter watch does not supersede the Time Pyramid, but merely joins it at the family dinner table. This seems eminently sensible because, despite the onset of years, the Time Pyramid remains incredibly desirable and I suspect that the new Time Pyramid Tourbillon will also share this enduring allure.

Further reading

http://www.arnoldandson.com/

Technical specifications

• Model: Arnold & Son Time Pyramid Tourbillon
  
• Reference: 1TPBR.T01A – 18k red gold (5N)
• Reference: 1TPDS.T01A – stainless steel
• Case: Diameter 44.6mm; Height 10.09mm; water resistance 3ATM (30 metres); sapphire crystals to front and caseback.
• Functions: hours; minutes; seconds on tourbillon; power reserve indicators
• Movement: Calibre A&S8615; hand-wound movement; frequency 21,600 vph (3Hz); 31 jewels; power reserve 90 hours
• Strap: Hand-stitched brown or black alligator leather paired with matching pin buckle
• Price: £43,200 – 18k red gold (5N) (RRP as at 13.2.2020)
• Price: £34,300 – stainless steel (RRP as at 13.2.2020)
• Limited Edition: 28 pieces in red gold, 28 pieces in stainless steel

The post Arnold & Son Time Pyramid Tourbillon appeared first on Escapement Magazine | Watch news, watch reviews, watch blog.

Felix Baumgartner, URWERK

Felix Baumgartner, URWERK

Angus Davies asks Felix Baumgartner, URWERK a series of questions about the brand he co-founded with Martin Frei. Felix, a son of Schaffhausen, explains that his first words were “tick-tock” and his career choice upheld a long-established family tradition of watchmaking.

A few years ago, I received a telephone call from the Press Department of URWERK. The brand kindly offered me the chance to wear a stunning UR-210, an avant-garde watch housed in a matte black case and featuring a ‘wandering hours’ display. I had seen the brand’s various models from afar and occasionally placed one upon wrist, albeit just for a few seconds. However, up to that point I had never had a full-blown ‘hands-on’ experience with an URWERK.

Image – URWERK UR-210

The URWERK UR-210 was in my possession for a couple of months. Indeed, a couple of blissful, highly enjoyable months. The combination of satellite hours and a static minute track proved incredibly legible and reading the time was instinctive. Furthermore, owing to the positioning of the crown at noon, my wrist and the UR-210 enjoyed a congenial and ergonomic relationship.

Image – URWERK UR-210

On several occasions I have visited the firm’s Genevan workshop and offices. I have seen part assembled watches sat upon watchmaker’s benches and noted the peerless finishing of movement components usually hidden from view. Be under no misapprehension, neoteric styling does not come at the expense of high-end finissage. Indeed, despite the cutting-edge composition of some URWERK models, the brand’s timepieces are shining examples of haute horlogerie.

Image – URWERK UR-210

Recently, I had the opportunity to ask Felix Baumgartner, URWERK’s Master Watchmaker and Co-Founder, a series of questions in order to learn more about the Swiss marque.

Interview with Felix Baumgarter, URWERK

What makes URWERK special?

URWERK is a personal adventure which I have taken with Martin Frei. We created and invested all we had in order to bring it to life. We came close to stopping a few times when orders were cancelled the day before delivery or because components were proving incredibly difficult to source. Throughout this period, we were on a continuous emotional roller coaster. We would experience euphoria one day and then depression the next. These emotions and experiences are reflected in our creations.

Image – URWERK UR-210

I believe you are from a watchmaking family. Can you tell me about your background, including your early career prior to establishing URWERK?

My father is a renowned restorer of antiques. He knows pretty much everything when it comes to the pendulum. He was the son a watchmaker and wanted to perpetuate this family tradition. Therefore, it wasn’t surprising that our family home was full of clocks. They provided a reminder of our family’s past and the profession my father wanted us to pursue.

My father says that my very first word wasn’t “mama” or “papa”, typical of most young children, but “tick-tock”. Clearly, my father succeeded in influencing my future career choice.

I studied at the watchmaking school in Solothurn, where I successfully passed my examinations. One month after graduating, I saw a classified ad in the newspaper. Svend Andersen was looking for an independent watchmaker to work in his atelier. I applied and secured the job. This led me to move to Geneva.

Around the same time, I worked for several big brands, mostly in their aftersales departments where I worked on an array of faulty watches, each with their own particular problems. I had to find ways of making these watches work. It certainly proved to be the best way to acquire knowledge and experience.

Image – URWERK UR-110

I have interviewed your fellow director and co-founder of Urwerk, Martin Frei. His creativity is extraordinary. How did you meet?

We met at a party. Martin was based in Zurich, studying at art school. He knew my cousin, hence he invited me to come along to the party. While each of us held a beer, we discussed time and space. Thereafter, URWERK was born.

Image – URWERK UR-105 T-REX

When Martin designs a watch, I assume he tries to explore the boundaries of his creativity. At what stage do you get involved, providing the necessary watchmaking know-how?

We work as a team, exchanging ideas. It’s a bit like a game of ping pong. We try to surprise and provoke each other.

Image – URWERK UR-111 C BLACK

URWERK often employs cutting-edge materials which have previously been used in other industries. How much time do you spend researching alternatives to brass, German silver and steel?

We are really curious, attending exhibitions for other industries. We also work with various partners in a variety of different fields, heightening our creativity. Lastly, we spend much time travelling, in order to free our imagination and learn by experiencing different cultures.

While most of our readers probably think of URWERK as an avant-garde watch company, it upholds fine watchmaking practice, endowing its models with flawless finishing typical of traditional haute horlogerie. Are you ever tempted to showcase more of the inner beauty of your watches?

Image – oscillating weight adorned with perlage

We often have. If you remember the very first watches presented by URWERK, they had a closed case. You could only see a pointer for the hours and that was it. Then we started to open up the case with the advent of the UR-103 Targa.

Image – URWERK UR-103T

I always associate URWERK with the wandering hours indication. Over the years you have conceived many variations of this concept, repeatedly creating something new and different. Recently, your company unveiled the UR-100.  Where did your inspiration come from?

Image – URWERK UR-100 GUN METAL

The URWERK UR-100 was inspired by a nineteenth-century pendulum clock made by Gustave Sandoz for the 1893 World’s Fair in Chicago. This pendulum does not show time. Instead, it shows the distance of the Earth’s rotation at the equator. Martin had the idea to incorporate this information on the dial of the UR-100.

Were there any technical challenges that you encountered when making this watch?

The watch features a type of double deck dial. The hand of the minutes has to pass in between both decks which is actually an incredibly narrow gap.

The Chronometry collection has been at the vanguard of horological innovation. The EMC provides the wearer with the means to ascertain the rate of the movement based on their lifestyle and allows the owner to easily adjust the rate when needed. The AMC on the other hand is a modern take on Breguet’s Sympathique clock. Can you remember what inspired you to create both of these models?

Image – URWERK EMC

These models are at the core of what we call chronometry. They are inspired by the Witschi device, a control tool all watchmakers have on their workbench. With the EMC, the means of controlling the rate of the watch is optical, hence it is far more sensitive that using sound, such as with a Witschi device. In terms of the AMC, our aim was to merge atomic accuracy with the magic of a mechanical movement.

Image – URWERK AMC

An increasing number of high-end watch brands now offer bespoke products or piece unique. Do you envisage offering this service in the future?

We only produce 150 watches a year, our production is already limited and exclusive.

While I always think of URWERK as a futuristic brand, you have continued to use a conventional hairspring. Would you ever consider using a silicium hairspring in the future or other silicium components such as an escape wheel?

As far as I am concerned silicium is far too fragile to be used ‘extensively’ in our creations.

When you are away from the world of watches, how do you relax?

I try to spend as much time with my family as possible. I have two grown-up daughters who don’t consider watches to be a big deal, or at least not yet! They help me to relax.

What are your aspirations for URWERK in the longer term?

We have chosen to deliberately limit production and wish for this capacity to remain at the present levels for as long as possible. It is our wish for URWERK to remain a family business and we wish to continue working with people we love and trust.

Closing remarks

Felix Baumgartner graciously answered my numerous questions. Prior to this exchange, I was already an avowed URWERK fan. Nevertheless, I am always keen to learn more about this innovative luxury marque. In 2018, I interviewed Martin Frei and found his view of watchmaking, design and the world at large to be fascinating. Likewise, my conversation with Felix proved equally interesting.

The Swiss Manufacture was founded in 1997. Over the years which have ensued, the professional marriage of Felix Baumgarter and Martin Frei has proved to be incredibly successful. The creative duo have never ceased conceiving new ideas and producing thought-provoking designs. They have never subscribed to convention but chosen to think of new solutions, such as using materials which hitherto had never been employed in watchmaking.

In the early years of URWERK, Baumgarter and Frei faced challenges. I suspect there were occasions when it may have been tempting for both men to quit. Thankfully, the pair persisted with their shared dream, leading to a brand many horophiles, myself included, hold in the highest esteem.

Perhaps, most tellingly, Baumgartner appears to shun the idea of being a horological colossus. In his response to my questions, he reveals an endearing desire to remain a ‘family business’, ‘working with people we love and trust’. His comments resonate with me and, in my opinion, provide the true meaning of success.

Further reading

https://www.urwerk.com/

The post Felix Baumgartner, URWERK appeared first on Escapement Magazine | Watch news, watch reviews, watch blog.

Felix Baumgartner, URWERK

Felix Baumgartner, URWERK

Angus Davies asks Felix Baumgartner, URWERK a series of questions about the brand he co-founded with Martin Frei. Felix, a son of Schaffhausen, explains that his first words were “tick-tock” and his career choice upheld a long-established family tradition of watchmaking.

A few years ago, I received a telephone call from the Press Department of URWERK. The brand kindly offered me the chance to wear a stunning UR-210, an avant-garde watch housed in a matte black case and featuring a ‘wandering hours’ display. I had seen the brand’s various models from afar and occasionally placed one upon wrist, albeit just for a few seconds. However, up to that point I had never had a full-blown ‘hands-on’ experience with an URWERK.

Image – URWERK UR-210

The URWERK UR-210 was in my possession for a couple of months. Indeed, a couple of blissful, highly enjoyable months. The combination of satellite hours and a static minute track proved incredibly legible and reading the time was instinctive. Furthermore, owing to the positioning of the crown at noon, my wrist and the UR-210 enjoyed a congenial and ergonomic relationship.

Image – URWERK UR-210

On several occasions I have visited the firm’s Genevan workshop and offices. I have seen part assembled watches sat upon watchmaker’s benches and noted the peerless finishing of movement components usually hidden from view. Be under no misapprehension, neoteric styling does not come at the expense of high-end finissage. Indeed, despite the cutting-edge composition of some URWERK models, the brand’s timepieces are shining examples of haute horlogerie.

Image – URWERK UR-210

Recently, I had the opportunity to ask Felix Baumgartner, URWERK’s Master Watchmaker and Co-Founder, a series of questions in order to learn more about the Swiss marque.

Interview with Felix Baumgarter, URWERK

What makes URWERK special?

URWERK is a personal adventure which I have taken with Martin Frei. We created and invested all we had in order to bring it to life. We came close to stopping a few times when orders were cancelled the day before delivery or because components were proving incredibly difficult to source. Throughout this period, we were on a continuous emotional roller coaster. We would experience euphoria one day and then depression the next. These emotions and experiences are reflected in our creations.

Image – URWERK UR-210

I believe you are from a watchmaking family. Can you tell me about your background, including your early career prior to establishing URWERK?

My father is a renowned restorer of antiques. He knows pretty much everything when it comes to the pendulum. He was the son a watchmaker and wanted to perpetuate this family tradition. Therefore, it wasn’t surprising that our family home was full of clocks. They provided a reminder of our family’s past and the profession my father wanted us to pursue.

My father says that my very first word wasn’t “mama” or “papa”, typical of most young children, but “tick-tock”. Clearly, my father succeeded in influencing my future career choice.

I studied at the watchmaking school in Solothurn, where I successfully passed my examinations. One month after graduating, I saw a classified ad in the newspaper. Svend Andersen was looking for an independent watchmaker to work in his atelier. I applied and secured the job. This led me to move to Geneva.

Around the same time, I worked for several big brands, mostly in their aftersales departments where I worked on an array of faulty watches, each with their own particular problems. I had to find ways of making these watches work. It certainly proved to be the best way to acquire knowledge and experience.

Image – URWERK UR-110

I have interviewed your fellow director and co-founder of Urwerk, Martin Frei. His creativity is extraordinary. How did you meet?

We met at a party. Martin was based in Zurich, studying at art school. He knew my cousin, hence he invited me to come along to the party. While each of us held a beer, we discussed time and space. Thereafter, URWERK was born.

Image – URWERK UR-105 T-REX

When Martin designs a watch, I assume he tries to explore the boundaries of his creativity. At what stage do you get involved, providing the necessary watchmaking know-how?

We work as a team, exchanging ideas. It’s a bit like a game of ping pong. We try to surprise and provoke each other.

Image – URWERK UR-111 C BLACK

URWERK often employs cutting-edge materials which have previously been used in other industries. How much time do you spend researching alternatives to brass, German silver and steel?

We are really curious, attending exhibitions for other industries. We also work with various partners in a variety of different fields, heightening our creativity. Lastly, we spend much time travelling, in order to free our imagination and learn by experiencing different cultures.

While most of our readers probably think of URWERK as an avant-garde watch company, it upholds fine watchmaking practice, endowing its models with flawless finishing typical of traditional haute horlogerie. Are you ever tempted to showcase more of the inner beauty of your watches?

Image – oscillating weight adorned with perlage

We often have. If you remember the very first watches presented by URWERK, they had a closed case. You could only see a pointer for the hours and that was it. Then we started to open up the case with the advent of the UR-103 Targa.

Image – URWERK UR-103T

I always associate URWERK with the wandering hours indication. Over the years you have conceived many variations of this concept, repeatedly creating something new and different. Recently, your company unveiled the UR-100.  Where did your inspiration come from?

Image – URWERK UR-100 GUN METAL

The URWERK UR-100 was inspired by a nineteenth-century pendulum clock made by Gustave Sandoz for the 1893 World’s Fair in Chicago. This pendulum does not show time. Instead, it shows the distance of the Earth’s rotation at the equator. Martin had the idea to incorporate this information on the dial of the UR-100.

Were there any technical challenges that you encountered when making this watch?

The watch features a type of double deck dial. The hand of the minutes has to pass in between both decks which is actually an incredibly narrow gap.

The Chronometry collection has been at the vanguard of horological innovation. The EMC provides the wearer with the means to ascertain the rate of the movement based on their lifestyle and allows the owner to easily adjust the rate when needed. The AMC on the other hand is a modern take on Breguet’s Sympathique clock. Can you remember what inspired you to create both of these models?

Image – URWERK EMC

These models are at the core of what we call chronometry. They are inspired by the Witschi device, a control tool all watchmakers have on their workbench. With the EMC, the means of controlling the rate of the watch is optical, hence it is far more sensitive that using sound, such as with a Witschi device. In terms of the AMC, our aim was to merge atomic accuracy with the magic of a mechanical movement.

Image – URWERK AMC

An increasing number of high-end watch brands now offer bespoke products or piece unique. Do you envisage offering this service in the future?

We only produce 150 watches a year, our production is already limited and exclusive.

While I always think of URWERK as a futuristic brand, you have continued to use a conventional hairspring. Would you ever consider using a silicium hairspring in the future or other silicium components such as an escape wheel?

As far as I am concerned silicium is far too fragile to be used ‘extensively’ in our creations.

When you are away from the world of watches, how do you relax?

I try to spend as much time with my family as possible. I have two grown-up daughters who don’t consider watches to be a big deal, or at least not yet! They help me to relax.

What are your aspirations for URWERK in the longer term?

We have chosen to deliberately limit production and wish for this capacity to remain at the present levels for as long as possible. It is our wish for URWERK to remain a family business and we wish to continue working with people we love and trust.

Closing remarks

Felix Baumgartner graciously answered my numerous questions. Prior to this exchange, I was already an avowed URWERK fan. Nevertheless, I am always keen to learn more about this innovative luxury marque. In 2018, I interviewed Martin Frei and found his view of watchmaking, design and the world at large to be fascinating. Likewise, my conversation with Felix proved equally interesting.

The Swiss Manufacture was founded in 1997. Over the years which have ensued, the professional marriage of Felix Baumgarter and Martin Frei has proved to be incredibly successful. The creative duo have never ceased conceiving new ideas and producing thought-provoking designs. They have never subscribed to convention but chosen to think of new solutions, such as using materials which hitherto had never been employed in watchmaking.

In the early years of URWERK, Baumgarter and Frei faced challenges. I suspect there were occasions when it may have been tempting for both men to quit. Thankfully, the pair persisted with their shared dream, leading to a brand many horophiles, myself included, hold in the highest esteem.

Perhaps, most tellingly, Baumgartner appears to shun the idea of being a horological colossus. In his response to my questions, he reveals an endearing desire to remain a ‘family business’, ‘working with people we love and trust’. His comments resonate with me and, in my opinion, provide the true meaning of success.

Further reading

https://www.urwerk.com/

The post Felix Baumgartner, URWERK appeared first on Escapement Magazine | Watch news, watch reviews, watch blog.

Vulcain 50s Presidents Chronograph Heritage

Vulcain 50s Presidents Chronograph Heritage

The Vulcain 50s Presidents Chronograph Heritage celebrates the brand’s longstanding relationship with several US Presidents, and indeed, its own heritage. Steve Ashby takes a closer look at what makes this timepiece ‘The Watch for Presidents’.



Image – 50s model in period case (smaller diameter)

When I’m not writing for Escapement Magazine, I lead another life, spending my days working in a marketing role which is both a blessing and a curse. While I love the creativity inherent with my occupation, I can no longer drive past a billboard or hear a radio advertisement without appraising its promotional efficacy. Sometimes I wonder if I could do better myself, while other times I’m inspired to incorporate similar ideas, adapting them to my own trade.

It has also led me to be increasingly cynical. I am sceptical about most types of advertising, and in the vast majority of cases when I see an advert, I can predict 90% of the accompanying terms and conditions.

One marketing tool which I often find patronising is the use of celebrity brand ambassadors. While I am sure there are some famous actors or musicians who have a genuine interest in a watch brand, I never succumb to such celebrity endorsements. Personally, I would never purchase a product simply because a famous individual is wearing it. There is, however, one exception to this rule.



Image – Present-day Heritage model in the foreground with 50s model in the background

Vulcain watches has its very own historic list of brand ‘ambassadors’. However, in this instance, I am receptive to the brand engaging such individuals for the promotion of its products. This is because they all share something in common, they are all US Presidents past and present.

In 1947, the world saw the birth of Vulcain’s in-house mechanical hand-wound ‘cricket’ calibre, one of the first mechanical movements to incorporate an alarm. The concept was so innovative that it soon found its way onto the wrist of President Harry S Truman and thereafter every American President has owned a Vulcain wristwatch. More recently, the watches supplied to President Barack Obama (2009) and President Donald Trump (2016) incorporated personalised engravings.



Image – Vulcain’s atelier in Le Locle

Therefore, it comes as no surprise to learn that the firm has gained a reputation for producing ‘the watch for presidents’, culminating in the release of the Vulcain 50s Presidents Chronograph Heritage.

The Dial

Seated beneath a domed sapphire crystal, the dial is presented in black, with all other features contrasting in period brown. It’s a simple aesthetic, rich in character while delightfully subtle. It’s the perfect accompaniment to formal attire. Simple Arabic hour markers sit adjacent a minute track, proving ideal when reading-off elapsed seconds. Two small subdials, a 30-minute chronograph register at 3 o’clock and a small seconds display positioned opposite, confer an alluring symmetry to the display. The subdials share the same colour palette as the main dial and are slightly recessed. The addition of a pulsometer scale next to the hour track allows the wearer to determine heart rates between 40 and 200 beats per minute.



The feuille-style hands are rose gold plated, providing effortless readability. They suffuse the dial with luxury and elegantly contrast with the ubiquitous black and brown colour scheme. Likewise, the hands on the two subdials have been embellished with a similar plating, adding to the overall cohesion of the display.



The Case

The stainless steel case of the Vulcain 50s Presidents Chronograph Heritage measures 42mm in diameter and sits in concert with the black dial. For the most part, the case and bezel have been highly polished to a mirror-like standard, but some areas of the case and lugs feature a brushed finish, accentuating the gleam of the adjacent polished surfaces.

The fluted crown features elegant cross-hatching on its vertical flank and is located in the customary 3 o’clock position. A single pusher, situated at 2 o’clock, orchestrates all of the chronograph functions, ie start, stop and reset.



For those looking for something a little pricier, this model is also available in 18k rose gold, wonderfully matching the aforementioned gold plated hands. Personally, I have a slight preference for the steel version, however, I think both options look attractive. Each variant is supplied with a black alligator leather strap, complete with steel or rose gold pin buckle dependent on the case material selected.

The Movement

Powering the Vulcain 50s Presidents Chronograph Heritage is the brand’s V-57 Calibre. The movement is based on a La Joux-Perret LJP 8121 MP automatic calibre. It comprises of 105 components, including 25 jewels and will run autonomously for up to 42 hours. The balance has a frequency of 28,800 vph (4Hz).



The V-57 Calibre is visible via a sapphire case-back. It is attractively finished with some surfaces feature palladium coating. Furthermore, Côtes de Genève finishing adorns the oscillating weight and blued screws abound. The rotor also bears the words ‘The Watch for Presidents’, reminding the owner of the Vulcain’s rich heritage.



Closing Remarks

With the Vulcain 50s Presidents Chronograph Heritage, you have the best of both worlds. The tones of the period dial, rarely seen pulsometer complication and the elegant bi-compax display imbue this model with much character, often lacking with many modern watches. Meanwhile, the 42mm case panders to contemporary tastes, suiting those wearers who may find vintage watches just a tad small.

The Vulcain 50s Presidents Chronograph Heritage sits apart from most other watches because of its styling and its list of exalted wearers. Indeed, based on my time with this model, Vulcain is not only worthy of US Presidents it also meets the expectations of cynical marketing professionals too.

Further reading

http://www.vulcain-watches.ch/

Technical specifications

• Model: Vulcain 50s Presidents Chronograph Heritage.


• Reference: 570157.315L.


• Case: Stainless steel; diameter 42mm; water resistance 5ATM (50 metres); domed sapphire crystal to front; sapphire caseback.


• Functions: hours; minutes; seconds; chronograph with pulsometer


• Movement: Calibre V-57 (based on La Joux-Perret LJP 8121); frequency 28,000 vph (4Hz); 25 jewels; power reserve 42 hours.


• Strap:Black alligator leather strap with pin buckle in stainless steel.


• Price: £4,990 including VAT (RRP as at 26.1.2020)

Press loan

The press sample was kindly provided by https://www.jurawatches.co.uk

The post Vulcain 50s Presidents Chronograph Heritage appeared first on Escapement Magazine | Watch news, watch reviews, watch blog.