Meet Mauron Musy in Switzerland
MAURON MUSY is an independent brand based in la Vallée de la Broye close to Le Lac de Neuchatel in Switzerland.
Mechanics and design are the two pillars of traditional watchmaking. The trailblazing MAURON MUSY brand has taken a third option by focusing on watch exterior complications. This unusual development area called for three years of research, entailing the need to adapt machines to new standards, as well as developing innovative procedures. A necessary approach for a subversive product that only two free spirits could take on.
Production is limited to 600 pieces per year and are 100% Swiss crafted.
R&D holds a substantial place at MAURON MUSY: rather than sourcing components via traditional watch industry circuits, the two engineers adopted the “100% Swiss Crafted” label right from the start.
MAURON MUSY watches stem from cutting-edge experimentation and testing, often conducted for the first time in watchmaking.
Rather than outsourcing, the two founders have equipped the Manufacture with all the equipment required for in-house production. In addition to a research lab, a production unit and a test and control department, the Manufacture has its own assembly workshop.
With the nO-Ring® technology, function becomes a design element in its own right. The specific characteristics of the water-resistance device are as practical as they are aesthetic.
If you haven’t had the chance to see the watches in person, but would like to, you can visit MAURON MUSY during their tour! Strap a Mauron Musy to your wrist and take the time to appreciate the extreme precision of these watches, and experience the details of the world's unique nO-Ring® waterproof technology. Mauron Musy is planning the following pop-up events to introduce the brand and meet its audience in person.
Meet us in
Fribourg, Crédit Suisse: 16 to 20 May
Geneva, St'Art Gallery: 02 June
Paris, Freret Roy: 16 to 17 June
For more information, please click: https://mauronmusy.com/
Reuge x MB&F announce the MusicMachine 1 Reloaded!
Back in 2013, MusicMachine 1 opened the floodgate for MB&F to collaborate with external creators on projects outside the scope of the wristwatch; it initiated a new category – “Co-creations” – that invited MB&F to a world beyond that of miniaturized horology. And it did not tell the time: rather, it was a music box created with REUGE that uprooted everything we thought we knew about music boxes, from the design all the way to the music. MusicMachine 1 featured all the traditional, timehonoured elements of a superlative high-end music box, but configured in MB&F’s individualistic manner. It was a music box for today.
“How you make a music box is still something that is mind-boggling for the mere mortal,” says MB&F founder Maximilian Büsser, who remains awestruck by the mechanics of the machines. High-end mechanical music boxes share many similarities with their horological counterparts, both technically and aesthetically, with similar fine finishing techniques. For MusicMachine 1 Reloaded, energy is derived from coiled springs and transferred by gear trains; the unwinding speed is carefully regulated, thanks to fan regulators similar to those found in traditional minute repeater watches. This puts in motion two cylinders, which contain the “scores” of the melodies, materialised by 1,400 precision-placed pins. When the cylinders revolve, the pins pluck the teeth of steel combs, each containing a bespoke selection of 72 hand-tuned notes. Each comb forms a unique pair with its corresponding cylinder; neither can play properly without the other.
REUGE was founded in 1865 in Sainte-Croix, Switzerland and is today the premier manufacturer of music automatons on the planet with more than 155 years of expertise and experience. Between 2013 and 2015, MB&F and REUGE released three MusicMachines, each playing different songs – untraditionally, modern music – and each model was a success. Maximilian Büsser and his Friends decided it was time to redesign the first MusicMachine and issue another edition.
“The original design was done by young Chinese designer Xin Wang,” says Büsser. “But we had Maximilian Maertens, who is designing a lot of new crazy cool stuff with us, work on this one with the idea of being a little bit more streamlined, a little bit more open. ”
With its dual propellers and twin silver cylinders mounted on sleek outrigger landing gear, MusicMachine 1 Reloaded still looks like a spaceship hailing from a galaxy far, far away. Just slightly different than before.
Like the original version, each of the cylinders on MusicMachine 1 Reloaded plays three tunes, all personally selected by Maximilian Büsser. The left cylinder plays the Star Wars theme, “Imperial March” from The Empire Strikes Back, and the theme from Star Trek. Back on earth, the right cylinder plays Pink Floyd’s “Another Brick in the Wall,” Deep Purple’s “Smoke on the Water,” and John Lennon’s “Imagine.”
“When it comes to design and creativity, MB&F is the specialist,” says REUGE CEO Amr Alotaishan. “However, when it comes to execution and excellence of product – the technical, engineering, and manufacturing side – we are comfortable. The ability to have a creative design that can reach out and touch people is amazing, while we know that we can produce the complementary quality when it comes to the technology. ”
MusicMachine 1 Reloaded is a limited edition of 33 pieces in blue, 33 pieces in red, and 33 in black.
REUGE created MusicMachine 1 Reloaded based on a futuristic spaceship design proposed by MB&F whose founder, Maximilian Büsser, is a keen fan of all the great sci-fi films and TV series. In collaboration with ECAL design graduate Max Maertens, MB&F evolved Xin Wang’s original spaceship design while cleverly incorporating all the essential music box features such as musically tuned combs, pinned cylinders, winding mechanisms, mainspring barrels, regulators, and an acoustically optimised case. “What we have designed now is more complex than the original MusicMachine,” Max Büsser explains. “Nine years later, with what I’ve learned, how I’ve evolved, and my tastes have changed, we basically reworked some of the details to have it become what I would want today. I’m not saying that I don’t like what we previously did, it’s just that being the creator I am today, this is what I would find cooler. ”
What Büsser and Maertens have created is more visually organic than the original MusicMachine, with the young Berlin-based designer additionally introducing the concept of what he calls “more airflow.”
The MusicMachine series is really important for Max Maertens, even an inspirational steppingstone of sorts. When he first saw the original MusicMachine back in about 2015 as a design student, it inspired him to change his direction and way of thinking. So it was something of a dream come true for him to work on a redesign of precisely this piece. “But I made it into something that is more aerodynamic, more like my own design language,” he explains. This involved Maertens using more science as a base and looking to aerospace engineering. “The entire piece is in kind of a flow,” he says. This is especially visible in the wings, which now look as if they are in a wind tunnel with invisible airflow around them.”
“I took the existing idea of how and where we place the mechanics and changed everything else about the MusicMachine, without losing the main essence of the previous piece – so that it really looks like a ‘reloaded’ version,” Maertens says.
The main structure of MusicMachine 1 Reloaded is essentially the same, but Maertens rethought several key elements. One big change is that the entire body is now made of anodized aluminium, in contrast to the wood of the original MusicMachine. “The process of machining aluminium is so appealing, so precise, and its surface is so beautiful,” he says. But the main point is that Maertens wanted to ensure that each individual piece of MusicMachine 1 Reloaded looks as if it were one fused piece.
“And I never hide the mechanics,” he says. “That is something really important for me as well.
MusicMachine 1 Reloaded doesn’t just look like something from a science fiction film; three of the melodies have been beamed directly from sci-fi classics.
MusicMachine 1 Reloaded’s left cylinder plays the theme from Star Trek by Jerry Goldsmith as well as the theme from Star Wars and the “Imperial March” from The Empire Strikes Back, both by cinematic music maestro John Williams. While the first two are stirring anthems evoking heroism and adventure, the latter will have you battening down the hatches and raising the shields as it signals the imminent arrival of the villainous Darth Vader.
But MB&F is much more than sci-fi; the brand’s creations are edgy and iconoclastic relative to the rest of the high-end watch world. This rock ‘n’ roll attitude is neatly symbolized by the three melodies of the right cylinder: John Lennon’s classic anti-war anthem “Imagine,” Deep Purple’s riff-tastic “Smoke on the Water,” and Pink Floyd’s memorable social commentary “Another Brick in the Wall.”
Büsser drew on his youth when choosing these for the original MusicMachine, and the selection was a daunting task as he related at the time. “In addition to the science fiction themes, I wanted to include three songs that were important to me during the first 20 years of my life. From a long list, I managed to whittle it down to three, but it was quite an ordeal!.”
With the 20/20 vision of hindsight, he hasn’t changed his opinion on why he chose them much. “Remembering it was my first co-creation, it was also an era where everything was still about my youth, my childhood, etc. And it was also about – and it still is about – creating something I would like to own. What I would like to listen to is of course themes from Star Wars and Star Trek (in my youth I was a cinema usher). I thought it was so cool to have Deep Purple’s “Smoke on the Water.” Going to see traditional maker REUGE and saying I want to have Deep Purple on my music box, that’s priceless.”
FAITHFULLY CREATING MUSIC… MECHANICALLY REUGE recreated the melodies mechanically. Firstly, a REUGE musician examined the pieces of music and identified the most recognizable passages from each. The musician then set about recreating these passages for the music box, keeping in mind that one cylinder would contain the three rock melodies, and the other cylinder would have the three sci-fi inspired melodies, and that each cylinder’s pins would pluck one 72-note comb.
Working out two groups of three arrangements, each one limited to approximately 35 seconds, and the multitude of notes that these songs entail (some notes are used by all three melodies, while some are exclusive to just one melody) represents a considerable technical and artistic achievement in which the musician’s brain, sense of expression, and emotional dexterity top any computer.
MusicMachine 1 Reloaded has two independent movements, each comprising a winding propeller; a mainspring barrel (looking like a piston under the propeller); a horizontal cylinder with pins creating three melodies; and a vertical comb with individual hand-tuned teeth sounding each note. While it would have been much easier to duplicate the two movements and just change the melodies, MB&F’s original concept called for perfect symmetry, and if the movements were identical the comb on one cylinder would not be on the outside. So REUGE took the unprecedented step of configuring the two movements as mirror images of one another, which meant completely inverting the design of the movement components and architecture.
THE COMBS The two vertical combs look like air vent grills on either side of the vessel’s main body. Each comb contains the bespoke selection of 72 notes chosen by the REUGE musician according to the three melodies that cylinder will play. The combs are hand-tuned from a unique steel alloy specifically selected for its acoustic impact. For bass notes, the weight of the tooth is extended at the back by the traditional method of adding lead. A machine then tests the frequency of each tooth and minute amounts of material are removed to accurately tune each note. The hand-operated tools that REUGE uses in this process have all been developed inhouse.
Tiny transparent, synthetic feathers are added behind the bass note teeth, acting as dampers so that the note resonates optimally. The comb is finally attached to a brass ‘vibration plate’ passing through the main hull, with six heatblued screws. The vibration plate transfers the sound to the case, which in turn amplifies the sound even more. Once the comb is fitted, the musician’s ear is required again for the final fine tune. “Looking at that in action is just beautiful,” says REUGE CEO Amr Alotaishan. “It adds to the complexity of what’s being done, and it adds into the perceived value. You don’t want to hide that. People really like to see the engine.”
THE CYLINDERS The beautifully hand-finished cylinders gleam like a pair of imposing reactors atop MusicMachine 1 Reloaded’s main hull. The cylinders essentially contain ‘the scores’ of the melodies, with as many as 1,400 precision-placed pins that pluck the teeth of the comb as the cylinder revolves. The REUGE musician determines precisely where to place every single pin. The pins are shaved then polished to ensure uniformity of length. Finally, a special hot resin is applied inside the cylinder, which, when hardened, rigidly fixes the pins to maximise sound quality.
Once one melody is played, the cylinder moves slightly along its long axis, and this change of position aligns the right pins with the right teeth to play the next melody. Each melody lasts approximately 35 seconds and corresponds to one complete revolution of the cylinder. The cylinders are linked via visible gear trains to MusicMachine 1 Reloaded’s rear engine room.
FAN REGULATORS On either side of the propeller-like winding levers are distinctive vertical circular panels. While these look as though they may be radar dishes to navigate an asteroid field or force field generating devices to repel enemy proton torpedoes, they are actually the cylinder speed regulators. When fully wound, the main springs tend to turn the cylinders faster than when nearly unwound. To compensate, these circular fan air regulators provide exponentially more resistance when rotating faster than slower, allowing for a constant revolution.
FUSELAGE, STRUTS, LANDING PODS AND LANDING PLATFORM Crafted in blue, red, or black anodised aluminium, MusicMachine 1 Reloaded’s sleek fuselage amplifies sound transmitted from the brass vibration plate centrally housed within the case. This plate also conducts the vibrations along the curved, lateral struts and outrigger-style landing pods in bead-blasted, anodised aluminium, which in turn carry the vibrations down to MusicMachine 1 Reloaded’s landing platform.
“I think it’s cool. If I had nothing to do with this company, I would consider buying it,” Amr Alotaishan summarizes the emotion MusicMachine 1 Reloaded brings up in him. “We bring traditional crafts to a younger, up-and-coming world by magically transforming them so that they find the fascination as well. ”
TECHNICAL SPECIFICATIONS
MusicMachine 1 Reloaded is a limited edition of 33 pieces in blue, 33 pieces in red, and 33 in black.
CASE, FRAME AND PLATFORM
Main body: anodized aluminium
Outriggers: Bead-blasted and anodised aluminium; black matte-anodised for black version
Dimensions: 381 wide x 476 long x 140mm high; total weight: approx. 3kg
Acoustically-enhancing platform: black wood matt finish
MOVEMENT AND FINISHING
MusicMachine 1 Reloaded features two 3.72 movements (3 refers to number of melodies on each cylinder; 72 refers to number of notes on each comb); one movement is “right” configured; one movement is “left” configured (they rotate in opposite directions).
Mainplate: nickel-plated brass, decorated with Côtes de Genève. The mainplate holds both movements; each movement includes a mainspring, cylinder, comb and regulator.
Mainsprings: wound via propellers.
Barrels: stainless steel; each with 6 heat-blued screws on top; grooved “piston” sides
Regulator: fan in stainless steel Cylinders: brass
Start/stop and continue functions
Cylinder supports: nickel-plated brass
One melody = one revolution of the cylinder
Three melodies per cylinder
Length of each melody: approx. 35 seconds
Power reserve per cylinder: approx. 10 minutes
Pins hand-applied and hand-polished
Length of pins: 1mm; diameter of pins: 0.3mm Pins per right cylinder: 1,279; pins per left cylinder: 1,399
Combs: steel alloy and lead; 72 teeth per comb; each comb attached to brass vibration plate by six heat-blued steel screws
MELODIES
Right cylinder – extracts from:
“Another Brick in the Wall” (1979) written by Roger Waters and originally performed by Pink Floyd
“Smoke on the Water” (1973) written and originally performed by Deep Purple
“Imagine” (1971) written and originally performed by John Lennon
Left cylinder – extracts from:
Star Wars (1977) main title by John Williams
“Imperial March” (1980) by John Williams
Star Trek (1979) main title by Jerry Goldsmith
Retail price is CHF 18,500 + VAT.
To purchase a MusicMachine 1 Reloaded, please visit: MAD Gallery
Roberto Coin - GILDED GLAMOUR AT THE MET GALA
Cynthia Erivo dazzles in a show stopping necklace at the 2022 Met Gala.
As the Met Gala returns to the first Monday in May, “Fashion’s Biggest Night Out” certainly did not disappoint. The fearless fashion icon strikes again in her 327-carat Fire Opal and 40-carat Diamond Choker from Roberto Coin.
The theme of the evening was “Gilded Glamour” and Cynthia, wearing a necklace exclusively created for her & paired with dazzling diamond pieces, was a major show stopper.
For more information, please visit: https://robertocoin.com
Armin Strom Pure Resonance “Salmon” Special Edition
Armin Strom once again demonstrates its prowess in mastering the most elusive physical phenomenon in watchmaking in the Pure Resonance “Salmon” Special Edition
After the “Sky Blue” and “Sea Green” editions of its innovative Pure Resonance model, Armin Strom celebrates the golden age of precision chronometry with a more traditional but equally striking “Salmon” guilloché dial, handcrafted by Kari Voutilainen in a limited edition of only five pieces.
Armin Strom's revolutionary resonance mechanism executed in its most distilled form, the Pure Resonance, combines the Manufacture’s patented technology – which is entirely visible from the dial side – with a classic time display featuring only the hours, minutes and seconds.
Lavishly hand-finished throughout with bevelled and polished edges and wide côtes-de-Genève stripes, this special edition is further embellished with a coppery-rose “salmon” coloured guilloché engraved dial, handcrafted by the celebrated independent and artisanal watchmaker Kari Voutilainen’s atelier using a traditional manual rose-engine lathe for a truly lavish touch.
The salmon colour and radiant guilloché pattern add a touch of old-world chronometry to an otherwise cutting-edge piece of creative and highly technical independent watchmaking.
Technical specifications: Pure Resonance Salmon
Reference no.ST17-RP.65
Indications: hours, minutes, seconds
Movement: Armin Strom manufacture Calibre ARF16
Manual-winding, patented resonance clutch spring, 2 mainspring barrels
Regulating system: two independent regulation systems connected by a resonance clutch spring
Power reserve: 48 hours
Dimensions: 34.40 mm x 7.05mm
Frequency: 3.5 Hz (25,200 vph)
Finishing: Base plate and bridges are decorated to the highest quality level
Jewels: 38
Number of components: 206
Case: Stainless steel
Sapphire crystal and caseback with anti-reflective treatment
Diameter: 42.00 mm
Height: 13 mm
Water resistance: 5ATM
Dial: Salmon-coloured hand guilloché by Kari Voutilainen, off-centre dial with subdial
Hands: Manufactured by Armin Strom, steel with hand finishing
Strap: Black alligator strap and stainless-steel double-folding clasp.
Edition: Limited to five pieces
Price: CHF59,000 / EUR62,600/ GBP53,000/ USD60,000
For more information, please visit: www.arminstrom.com
MB&F LEGACY MACHINE THUNDERDOME
The world’s fastest triple-axis regulating mechanism
THREE WORLD FIRSTS
Ø First-ever collaboration between legends Eric Coudray and Kari Voutilainen.
Ø Proprietary new ‘TriAx’ mechanism features 3 axes revolving at different speeds and on different planes, in record-breaking 8 seconds, 12 seconds and 20 seconds.
Ø Unique combination of Potter escapement, hemispherical balance and helical hairspring.
What if you could harness the raw power and spectacle of a thunderbolt within a watch?
Meteorological science tells us that when cold and warm currents meet, all manner of dramatic weather ensues. Storms, freak atmospheric conditions and even tornadoes have been known to follow. So when two very different master watchmakers come together – one a legendary innovator from the Vallée de Joux known for his unorthodox, jaw-dropping complications, the other a famed perfectionist and acclaimed pillar of traditional craft based in Môtiers – look out for lightning on the horizon.
Presenting the Legacy Machine Thunderdome, jointly signed by Eric Coudray and Kari Voutilainen.
Rising above a sea of blue guillochage is a rotating spherical mass of gears, pinions and cages. Somehow, from this chaos of motion, order is extracted. Time is indicated on an inclined dial of stretched lacquer, proving that even the wildest horological whirlwinds can be tamed into the logic of hours and minutes.
MB&F founder Maximilian Büsser says, “One of the many things that makes me incredibly happy about this piece is that we got to bring together two people I adore in this industry; who are incredibly talented, have completely different styles and personalities, and have never had the chance to work with each other”.
Once taken, such chances can reshape entire landscapes. MB&F’s only directive to Eric Coudray initially was to “make the craziest, most cinematic three-axis tourbillon ever.” Having been given free rein to create, Coudray built something that was entirely new in his experience: a mechanism that goes beyond the tourbillon, the proprietary new MB&F ‘TriAx’.
The new TriAx mechanism, as showcased in Legacy Machine Thunderdome, fulfils MB&F’s directive to Eric Coudray in spectacular fashion. The triple-axis rotating escapement has a stripped-down construction that transgresses both tradition and modern convention. Instead of the rational (and cumbersome) system that associates one cage with each rotational axis, the TriAx defies logic with a three-axis, two-cage configuration that allows for unprecedented visibility of the Thunderdome’s beating, whirling heart.
In a second stroke of whirlwind audacity from Coudray – whose name is practically synonymous with audacious watchmaking in the 21st century – the TriAx mechanism of LM Thunderdome uproots our most familiar notions of watchmaking escapements. Controlling the rate at which energy escapes from the barrel is the unusual Potter escapement, which utilises a fixed escape wheel in place of the mobile escape wheels seen in virtually every type of modern rotating escapement. The fixed escape wheel of the Potter escapement – named for 19th-century watchmaker and inventor Albert H. Potter – allows for higher rotational speeds in such a mechanism.
Integrating a fixed escape wheel within a tri-axial rotating mechanism is something that has never been done before, but LM Thunderdome achieves this, and for good reason. The high-speed rotation consumes energy voraciously, with the innermost structure completing one turn in 8 seconds, the intermediate cage rotating once every 12 seconds, and the outermost cage making one full rotation every 20 seconds.
An additional advantage of the Potter escapement is that it frees up more space for the balance and hairspring, allowing to better admire another completely novel development: the balance of LM Thunderdome takes a hemispherical form, wrapping around the helical hairspring for an unprecedented configuration of regulating organ in both modern and classical watchmaking.
Even for a seasoned watch connoisseur, deeply familiar with multi-axis tourbillons over the 15 years since this type of mechanism debuted on the horological scene, Legacy Machine Thunderdome is an eye-opener. Not only is it faster, its components whirring past at dizzying speeds – it is larger, thanks to the offset axis of the outermost cage that increases the overall displacement of the balance, and it is showcased like no other. The pronounced arch of the sapphire crystal dome allows Eric Coudray’s opus to sit fully above the dial plate, visible from all sides.
As difficult as it may be to tear your eyes from the dial-side spectacle, the reverse of the LM Thunderdome engine is equally rewarding. The manual-winding, triple-barrel movement may have been technically conceived by Eric Coudray, but its aesthetics are fully Kari Voutilainen.
Countless sessions passed between the two watchmakers until the untrammelled dynamism of Coudray’s engine design took on classically elegant forms. Smoothly rounded bridges, incorporating sharp hand-bevelled internal angles and mirrored curves suggest a deep, unyielding calm that anchors the turbulent maelstrom on the other side. For the first time in an MB&F creation, Kari Voutilainen has applied his proprietary style of finish onto the ratchet wheels. This technique imparts a serpentine shimmer to the circular surface, catching the light in sigmoid waves. This technique is a closely guarded secret in the Voutilainen workshops, requiring years of experience and special tools to execute.
The LM Thunderdome is launched in two limited editions:
- 33 pieces in platinum 950, with a light-blue guilloché dial plate;
- 10 pieces in tantalum commemorating the 40th anniversary of Asia-Pacific retail group The Hour Glass, with five pieces bearing a dark-blue guilloché dial and five pieces with an inlaid aventurine dial.
LM Thunderdome in detail
About the LM Thunderdome engine
The MB&F Legacy Machine Thunderdome is the culmination of four years of development, an unprecedented collaboration between two of the most admired horological minds today, Eric Coudray and Kari Voutilainen. While the technical construction originated with Coudray, it was Voutilainen who translated the mechanism into the aesthetically refined movement that inhabits LM Thunderdome.
Though the latter task may seem straightforward compared to technical development, it actually entails a far greater level of difficulty than is implied. The complex and delicate relationship between the 413 components of the LM Thunderdome engine makes every micro-adjustment an extended exercise in mechanical reconfiguration. With a movement diameter of only 35mm, proportionate design is exponentially emphasised and there is far less margin for error. A bridge that is even one single millimetre too wide, or a pinion moved just a few micrometres to either side, would immediately stand out, glaringly out of place.
Says Voutilainen, “In such a complex project, with so many different considerations, I chose the traditional method of hand-drawing the movement rather than working with computer software. It allowed me to have a much better feel for the proportions and the choices that needed to be made about aesthetics and function.”
Appearing to hover above the dial plate of Legacy Machine Thunderdome is the ‘TriAx’, a highly sophisticated multi-axis rotating escapement that is completely novel even in Eric Coudray’s unmatched oeuvre of similar mechanisms.
There are three axes rotating at different speeds and on different planes, starting with the innermost axis that makes one complete turn in 8 seconds. The next axis of rotation is canted at right angles to the first, and makes one complete turn in 12 seconds. The outermost axis of rotation is canted at right angles to the second, and makes one complete turn in 20 seconds. This gives LM Thunderdome the distinction of possessing the fastest combined rotation in the category of multi-axis regulating mechanisms.
Additionally, the last axis of rotation is excentric relative to the other two, such that the final motion of the balance wheel, when viewed in isolation, is most precisely described as an orbital tri-axial rotation.
In chronometric context, this means the LM Thunderdome engine has the largest range and fastest rate of balance positional displacement known throughout the history of watchmaking. In a rather more accessible context, this means that LM Thunderdome offers a visual spectacle that the horological world has never seen before.
Existing terminology does not adequately cover the rotating mechanism of LM Thunderdome. The current separation of rotating escapements into tourbillon or karrusel categories does not work here, as Coudray’s creation incorporates key elements of both, such as the split-train energy transmission of the karrusel, and the fixed wheel of the tourbillon. Even so, these elements are configured in ways that are unfamiliar to our conventional definitions of tourbillon and karrusel. Mechanically speaking, Thunderdome stands alone.
Driving this cinematic feat of horology, which weighs close to 1g, is a manual-winding three-barrel movement with 45 hours of power reserve.
More about TriAx: a three-dimensional balance and a rare escapement
For the first time in any micro-mechanical work of horology, a hemispherical balance is used to provide inertia in the regulating organ. This completely innovative custom solution allows for the largest possible balance when combined with a cylindrical hairspring, while still maintaining a relatively compact cage (or compound cages, as the case might be).
Cylindrical hairsprings have been used throughout history for timepieces that prioritised isochronism and overall timekeeping performance, since the highly uniform breathing of a cylindrical hairspring is less likely to cause timekeeping anomalies even in a wide range of disruptive environmental conditions.
Pioneering a three-dimensional balance might be considered by even the most ambitious watchmakers as enough of a challenge, without the extra step of planting it in the middle of a multi-axis rotating mechanism. How does one adjust a balance that takes a different position in all three dimensions every second?
Even state-of-the-art laser measuring instruments were baffled by the continuously shifting balance and its enclosing rotating cages. MB&F furthered the known applications of this laser technology by shifting the beam frequency entirely into the infra-red range (thus avoiding any misreadings caused by the visible range of the beam interacting with the polished components) and developing a system of taking discrete readings at specific intervals over a period of time. This, in addition to the combined experience and skill of Eric Coudray and the MB&F watchmakers, allowed the LM Thunderdome balance to be adjusted with efficiency and precision.
The key to the high-speed rotation of TriAx at the heart of LM Thunderdome is a little-known variant of escapement, first proposed by 19th-century American watchmaker and inventor Albert H. (not Harry) Potter as a tourbillon modification. Instead of driving the escape wheel, via its pinion, around a fixed fourth wheel, he made the escape wheel the fixed wheel, and altered the geometry of the escape lever accordingly. This, he correctly theorised, would allow blindingly fast tourbillon rotational speeds.
In the TriAx mechanism of LM Thunderdome, the Potter escapement is modified yet further. Instead of a fixed escape wheel with externally oriented teeth, co-axial to the balance, Thunderdome uses a fixed escape wheel with inverted teeth, co-planar to the lever fork. Only once has this configuration been seen in modern horology, and only in a single-axis tourbillon, never before in a multi-axis mechanism. There was no rulebook or established precedent, so TriAx created its own.
These are all firsts for MB&F, and more significantly, they are firsts in the horological world.
Exceptional finish
Because an exceptional movement deserves exceptional levels of finish, Kari Voutilainen consented — for the first time in an MB&F creation — to apply his own proprietary finishing technique on the ratchet wheels. This finish imparts a sheen that appears almost uniformly sandblasted, but reflects direct light in deeply curved sigmoid waves.
“Not even someone with years and years of finishing experience could replicate this finish,” says Voutilainen. “Not without specific training, specific tools and specific techniques.” Needless to say, these specific things will remain unspecified by Voutilainen, save for highly favoured and trusted finishing experts in his workshop.
The rest of the Legacy Machine Thunderdome engine features superlative hand finishing throughout, at the highest level of 19th-century style. Sharp internal angles, unachievable by machines, are bevelled and polished by hand. The softly luminous Geneva waves characteristic of Voutilainen are applied by hand, as are the frosting and engraving on the power-reserve indication.
Surrounding the multi-axis rotating escapement is a guilloché dial plate, which is also created by Kari Voutilainen in Comblémine, his dial factory.
MB&F and The Hour Glass
The core philosophy of MB&F is contained entirely within its name — Maximilian Büsser & Friends. Independent watchmaking was in its infancy when Max Büsser founded his own company 15 years ago, and support from key retail partners such as The Hour Glass was essential for survival.
Büsser says, “The early days of MB&F were a personal and professional challenge the likes of which I had never faced before. If not for Michael Tay of The Hour Glass and his belief in this crazy dream of mine, it’s possible that Horological Machine Nº1 might have never existed.”
Founded four decades ago in the world’s most sophisticated and concentrated watch market, Singapore, The Hour Glass retail group is acknowledged to be a driving force within the Asia-Pacific horological scene. Its operations span the region and its boutiques are frequently at the centre of the local watch community.
Says Michael Tay, Group Managing Director of The Hour Glass, “I first met Max in Singapore in November 1998 and it is one of those rare relationships in my life where what started as a professional partnership has, over the past two decades, transformed into one of a lifelong friendship. I value Max because he is one of the few visionaries in the universe of contemporary horology and – of more significance to me – is both reliable and consistent in his approach to his brand and business. We’re extremely proud to have this opportunity to launch with MB&F this commemorative edition. This was a project that was first discussed with both Max and Eric Coudray as far back as 2012 and has taken the better part of 7 years to realise. It is definitely one for the history books.”
More about Eric Coudray and Kari Voutilainen
Eric Coudray is descended from a long line of watchmakers. Although he distinguished himself in his early professional years by restoring antique timepieces, his name first came to global prominence while he was employed by legendary watch brand Jaeger-LeCoultre, where he led prestigious projects such as the first modern minute repeater from the manufacture, housed in their iconic Reverso.
He developed the Jaeger-LeCoultre Gyrotoubillon, one of the world’s first multi-axis tourbillons, which was hailed a milestone of modern horology when it debuted in 2004. His follow-up work on the Jaeger-LeCoultre Reverso Gyrotourbillon II incorporated a helical hairspring for improved chronometry. The watch was subsequently awarded second prize at the 2009 Concours International de Chronométrie (with the first prize also taken by Jaeger-LeCoultre). His experience with this visually stunning mechanism brought him to independent watch brand Cabestan, where he further expanded his repertoire of multi-axis rotating escapements. Coudray is currently part of a specialist team at TEC Ebauches, a high-complication think tank and movement supplier based in the Vallée de Joux.
Part of the fascination that Coudray and his creations induce in watch enthusiasts stems from his unorthodox approach to his métier and unique personal style. Such is Coudray’s stature amongst the international cognoscenti of horology that members of this community frequently approach Coudray at industry expositions and trade fairs to express admiration for his work.
Equal in repute, though opposite in approach, is Finnish watchmaker Kari Voutilainen, whose company is based in the small Swiss village of Môtiers. Like Coudray, Voutilainen’s early career was characterised by restoration work. It was while he was employed in the restoration department of Fleurier watch company Parmigiani that Voutilainen became known for his outstanding talent and was involved in the restoration of some of the world’s rarest examples of haute horlogerie.
Later, when he established his watch company, Voutilainen was able to draw on this experience to create his own timepieces. His watches, notably the highly successful Vingt-8, are just as acclaimed for their extreme aesthetic refinement as they are for their interpretation of Breguet’s natural escapement. Voutilainen has lent his much sought-after expertise to selected companies, and his name is inextricably associated with the MB&F Legacy Machine collection, which has carried his signature since its debut in 2011.
Unmatched levels of hand-finishing are the hallmark of a Voutilainen watch, with a distinctive softness and luminosity to the final effect which sets them apart from the sharper, brighter finishes that define the industry standard. Voutilainen’s passion for decorative techniques has led him to create some of the most beautiful unique timepieces seen in recent years, in conjunction with independent artisanal craftsmen. Recognition has come in the form of several industry accolades, including multiple awards from the Grand Prix d’Horlogerie de Genève.
Arnold & Son awarded “Best Design Watch 2019” in Dubai
Originally launched at Baselworld earlier this year Arnold & Son is proud to announce that Nebula 38 has been awarded “Best Design Watch 2019” at the annual Watches & Jewellery of the Year Awards, a prestigious Dubai prize recognizing the region’s most celebrated creations.
The three-dimensional, openwork movement and dial of the Nebula 38
offer views into the very heart of the in-house manufacture calibre.
It's gold 38 mm diameter case
magnifies the hypnotic micro-mechanical spectacle of the hand-wound movement.
Arnold & Son Globetrotter Night
Globetrotter Night
Night flight
At once graphic, cartographic and hemispherical, the Globetrotter Night gives its display of world times over to the night. Beneath a crystal dome, this timepiece plays on nocturnal nuances and city lights.
In the 1780s, John Arnold contributed to the great revolution in ocean navigation with his marine chronometers. The Globetrotter Night reflects this historical legacy with its cartographic features and world times. As night follows day, Arnold & Son cloaks its Globetrotter in darkness, spectacularly showcasing our northern hemisphere when shrouded in vesperal shadow.
Panoramic vision Beneath a large sapphire crystal dome, an arch supports a half-globe in shades of grey and blue. It depicts the continents, the seas and the lights of the large cities located north of the equator. On the edge of the planet, a sapphire ring breaks down the 24 hours of a day. Transparent between 6 am and 6 pm, a metal treatment has been used to darken it, indicating the night-time hours. Together, the hemisphere and ring display the time in one part of the world, represented in a highly original way. In the absence of a dedicated hand or city disc, the time is read geographically in accordance with the continents.
The Earth by night
The Globetrotter Night offers a realistic and meticulously rendered interpretation of a three-dimensional map enclosed in a 45 mm steel case. Chemical engraving has been used on the half-globe to outline the continents. The raised parts have undergone a deep-grey galvanic treatment before being hand-lacquered in a black-grey hue, while the oceans are lacquered in grey-blue. Finally, the city lights twinkling in the northern hemisphere are represented by hand-applied silver sparkles.
The decorative touches and finishes adorning the Globetrotter Night extend beyond the Earth itself. The chapter ring is circular satin-brushed and the hands, despite being mostly concealed beneath the half-globe, are polished and accentuated by red-lacquered tips. The large double-foot bridge supporting the half-globe is a spectacular feature in itself that lends structure to the overall appearance of this timepiece. It is circular satin-brushed and chamfered by hand and held in place by screws with polished heads and chamfered slots.
Watchmaking ergonomics
These finishes are echoed extensively on the A&S6022 self-winding calibre powering the Globetrotter Night. Entirely developed and produced by the Arnold & Son Manufacture, it has a nocturnal style thanks to the widespread use of NAC-type surface treatments. The bridges are polished and chamfered, finished with Côtes de Genève stripes and coloured grey. The skeletonised oscillating weight is engraved and treated chemically with ADLC black and NAC grey to obtain a two-tone appearance using a matt straight-grained finish.
Beyond these aesthetic details, what makes the A&S6022 calibre special is its easy setting, thanks to a three position crown. The first winds the movement. The second adjusts the local time hand by one-hour jumps either clockwise or anti-clockwise. The third regulates the hours and minutes in addition to the planet’s rotation. When travelling to a different time zone, the second position enables the wearer to change local time while keeping world time synchronised.
In the interests of fairness, Arnold & Son can also provide a “southern hemisphere” version of its Globetrotter Night on request at the same price.
Uncovering the Beauty of Mechanics with the Admiral AC-One 45 Openwork 45mm Collection
In 2013, the Admiral collection welcomed a new line to the family- the Admiral AC-One. Keeping in mind the key design codes of the Admiral collection, the lines of the iconic dodecagonal-shaped case was reworked to become more rounded and angles less prominent. Taking into consideration the size and weight of the 45mm diameter-case of the AC-One 45, titanium became the material of choice for this contemporary reinterpretation. Designed as a robust timepiece to complement luxury offshore boating, the Admiral AC-One 45 is even sportier, bolder and pushes the boundaries of creativity a step further.
This year, Corum presents the AC-One 45 Openwork Automatic, which introduces an exquisitely crafted skeletonized dial. The movement fitted within the AC-One Openwork Automatic is the caliber CO 297, a new movement that was developed by Corum in-house specifically for this model. The bridges visible on the dial side were specially designed to be in harmony with the dodecagonal-shaped case, as well as the silhouettes of the nautical pennants. A sub-dial displaying small seconds is at the 9 o’clock position, while the power reserve indicator sits at 3 o’clock.
Like the AC-One 45 Squelette that was released in 2014, the ingenious architecture of the AC-One 45 Openwork Automatic juxtaposes this otherwise hefty timepiece with a touch of lightness and refinement. Unlike the Squelette which features a completely skeletonized double-date disks, Corum makes use of bolder and cleaner-cut lines to give a more robust and athletic feel to the Openwork Automatic.
The AC-One 45 Openwork Automatic is presented in two variants. The first, with a case crafted in grade 5 Titanium to add lightness of the overall design, and at the same time evoke a futuristic vibe. The second variation pairs contrasting rose gold with black PVD-coated titanium as the case material, giving the watch a bolder and sportier feel. The back of the movement is visible through the screwed-in open back bronze cover with anti-reflective sapphire crystal. Both timepieces offer water resistance up to 100 meters, while the movement has a power reserve of 42 hours.
Taking mechanical beauty a step further: AC-One 45 Openwork Automatic Tourbillon
For aficionados who prefer something more complicated and gravity-defying, Corum has prepared the AC-ONE Openwork Tourbillon. At the six o’clock position lies a tourbillon, in addition to the above details present in the AC-One Openwork Automatic. This showcases the not only the beautiful heartbeat of the movement, but also Corum’s artistry and flair in technical watchmaking. The addition of a tourbillon also ensures higher accuracy in timekeeping under conditions at sea.
Both the AC-One Openwork Automatic and Openwork Tourbillon also feature redesigned straps. Crafted with rubber on the surface and synthetic textile on its underside, these bi-material straps are designed to seamlessly integrate with the lugs. This minimizes any possible gaps between the lugs, strap, and wrist, which not only makes wearing the watch more comfortable but also protects the lugs and straps from being damaged by external aggressions.
MB&F M.A.D.Gallery: "URBIS" by James McNabb, skyline-inspired wooden sculptures
City Square
Creativity doused with intensity and passion. American artist James McNabb uses his extraordinary artistic skills and limitless imagination to morph wood into imaginary urban landscapes. At the M.A.D.Gallery in Geneva, we are thrilled to present URBIS, a collection of six abstract cityscape sculptures by James that are downright cool.
“I’m an intense person. Everything I do, I do with all my energy. I’m also cautiously curious and very sensitive,” expresses James. “I want to capture my passion within the work, charge the objects with my energy and emotions, so observers can feel my experiences when viewing the work.”
Looking from the outside in, it is easy to get lost in the details of these abstract fantasy cities and contrive imaginative stories of a futuristic life along the streets of each vertical urban environment.
URBIS
The URBIS collection reveals intricate architectural structures imagined by James, from towering skyscrapers and office buildings to high-rise apartment buildings. Behind these intricate cityscapes is a tremendous amount of time and talent. Each towering wooden skyscraper is skilfully carved out with a bandsaw and then carefully assembled piece by piece to create impressive urban landscapes.
In the City Square sculpture, James visually transforms a skyline into an urban block by inverting each tower in such a manner that the antennas are practically touching in the centre while the outer edges are squared off. The composition compromises 102 unique structures in American Black Walnut, each laboriously sanded and varnished to an exquisite finish to complete the look. This contemporary piece measures 66 x 66 x 6 cm.
ACK CTY WHL
ACK CTY WHL is a work of art that bends a modern metropolis into a sophisticated sphere due to the precise placement of each elongated wooden tower. The gentle rondure and simplicity of the perimeter contrast with more than one hundred highly ornate superstructures arranged inside. One can visualize the bustling momentum of city life happening within this circular world. The negative space creates a glowing sun that adds to the complexity and depth of this architectural wonder. This eye-catching work of 91 cm in diameter incorporates a variety of wood types, including cherry, oak, mahogany and maple.
URB CTY WHL
In a similar design, URB CTY WHL maintains the round construction of ACK CTY WHL though the interior is modern with clean structures crafted from American Black Walnut. The streamlined design of this rolling metropolis eases thoughts and draws on a simpler way of life.
Disposition
Disposition is a sculpture balancing a bustling city filled with distinctive architecture at varied elevations. The sleek skyscrapers are composed in American Black Walnut and assembled to create a 46 x 46 x 51 cm modern metropolis. One has a bird’s-eye view into the streets of this city on the edge, and it’s easy to imagine an uphill climb or sliding down – or perhaps just hanging on.
Each unique piece is signed by James McNabb and comes with an accompanying quality certificate.
Composure
Hive
Creation Process
Working similarly to the fast pace of city life, when an idea strikes, the creative process begins and James hits the road running. The initial notion is realized in a quick sketch followed by a more detailed drawing that is then digitized. If the concept passes the necessary tests, a production plan is developed and a stack of locally sourced raw lumber quickly arrives at the Pennsylvania-based workshop. And construction begins.
Hours upon hours are logged to process the material with steps that include milling and dimensioning. Applying his unique skillset, James builds out the joinery for the structure and personally overviews each step in the assembly.
The primary tool used to create his works of art is the bandsaw. This piece of machinery provides the ability to manipulate wood and make a variety of cuts and mark makings. “To me, it’s a very expressive machine, responsive to its user in a very sensitive way,” explains James. “I’m sensitive to how the material behaves with the machine, and how my behaviour impacts the resulting forms. If we (maker, material, machine) can dance together, the results are often beautiful.”
James designs each tower in his mind’s eye and uses his hands to freely guide the lumber, cutting out every detail of the structure with the bandsaw. “I like to spend most of my time cutting the wood pieces on the bandsaw. It requires patience and focus as each piece is cut one at a time by me,” he explains. Once all the architectural structures are finished, James assembles each individual component, piece by piece. The entire sculpture is then sanded to an impeccably smooth texture and finished with varnish to enhance the wood grain.
Due to the large number of individual components transformed from raw lumber to finished pieces, these works of art require about 10-12 weeks to complete.
About the Artist
At the young age of 16, James McNabb found his creative niche during a high-school woodworking class, which guided his path to becoming an artist. In 2008 James graduated from Rochester Institute of Technology’s School for American Crafts, where he learned the fundamentals of woodworking and furniture design. It was during these years he developed a passion for the craft. Simultaneously, James became fascinated by nature, trees, and wood as a material for making objects. Over time his objects began to evolve, becoming less utilitarian and more expressive – he found himself crossing over to the land of an artist. In 2012, he went on to earn a master’s degree from Indiana University of Pennsylvania where he developed his signature body of work called “The City Series,” a collection of wood sculptures that explore the limitless possibilities of the urban landscape and our relationship to it.
Today James McNabb is best known for his one-of-a-kind skyline-inspired wood sculptures. His work combines traditional woodworking with experimental art to create new visions of the urban landscape.
Based in Philadelphia, his studio is adaptive to his needs and filled with both finished pieces and projects in the works. “I can see my new ideas come to life with old ideas in the background, and together they can inspire future ideas,” shares James. “It’s always a dynamic space, often moving and rearranging to make more room for a new project.”
Making art is an extremely effective method for coping with the ups and downs of life for James, and it brings him a sense of peace. Art has affected his life in both positive and negative ways. “When life is moving in chaotic ways, I revert back to my place of peace. It gives me a sense of purpose when I’m feeling lost,” he says.
