Unveiled in 2019, the Odysseus was A. Lange & Söhne’s first foray into sports watches. A commercial success since launch, the Odysseus has since become one of the brand’s most desirable watches. Though it has been iterated in different metals (including titanium), it has remained the same model, until now.

Long anticipated and alluded to by chief executive Wilhelm Schmid, the Odysseus Chronograph has finally arrived. While powered by a brand-new automatic movement that incorporates a novel and fanciful reset feature, the watch retains the same Odysseus styling.

Initial thoughts

The Odysseus Chronograph is not unexpected. From the start the Odysseus case was designed to feature integrated pushers resembling crown guards, making it ideal for a chronograph. And the Odysseus Chronograph looks exactly as expected.

Though the design is not surprising, the Odysseus Chronograph is cleverly designed. It manages to retain the aesthetics of its predecessor despite being substantially more complicated. The key visual difference is the addition of just two central chronograph hands. The consistent design was accomplished by smartly endowing the large integrated pushers with dual functionality of activating the chronograph or calendar adjustment.

Predictably, the new movement inside is automatic – atypical for Lange but sticking to industry convention for a sports watch.

However, being automatic means that most of the chronograph mechanism is hidden under the bridges and rotor, resulting in an aesthetic that lacks the intricacy of the typical Lange chronograph movement. The density and grace of steel levers visible in Lange’s manual-wind chronographs are missing here.

In fact, it construction of the movement means its appearance is somewhat generic. Although the finishing and decorative elements are clearly Lange, the overall structure of the movement resembles high-end chronograph movements from the likes of Audemars Piguet and Rolex.

Though the appearance on the back is conventional, the movement incorporates an oddity, a quirky reset feature for the chronograph. While the chronograph minutes reset to zero as usual, the chronograph seconds will rapidly circle around the dial, making a number of revolutions that match the number of elapsed minutes before resetting to 12 o’clock. It is odd to see such a gimmick in a Lange movement, as the brand usually focuses on elaborate engineering and practical utility, which is not the case with this reset function.

The Odysseus Chronograph costs about US$145,000 – a lot despite Lange’s vaunted quality. In any case, it is limited to 100 pieces in steel so availability will be challenging, to put it mildly.

Familiar livery

Like the inaugural model, the Odysseus Chronograph has a hefty steel case, but now enlarged to accommodate the new movement. At 42.5 mm wide and 14.2 mm thick, the Odysseus Chronograph has presence. It is chunky but the dimensions are in keeping with what is expected in a modern sports watch.

Naturally the Odysseus Chronograph is fitted to a steel bracelet like that on the original. It flares outwards at the case to match the taper of the lugs, creating the appearance of an integrated bracelet. And integrated into the clasp is a ratcheting extension system that is released by the round button in the centre of the clasp.

While the case is bigger, the black dial is almost identical to that of the original Odysseus in both size and appearance. The dial fits in the larger case due to a wider flange around the dial, which has the minutes on its inner edge and the addition of an extended lip featuring the hashmarks for the elapsed seconds.

The only other clue that this is a chronograph – besides the label at 12 o’clock – is the pair of central hands. The Odysseus Chronograph has a conventional central chronograph seconds, along with an uncommon central 60-minute chronograph hand, which does away with the need for registers to display elapsed time.

The rest of the dial is familiar and identical to the original Odysseus. The sub-dial at six o’clock displays running seconds, while the oversized date and day displays are at three and nine o’clock respectively.

The raised chapter ring for the hours features concentric patterning and adds depth to an otherwise expansive dial. The large and legible hour markers have luminous fill, as do the hands, including the tip of the chronograph seconds.

A repurposed feature of the original Odysseus are the two large buttons on each side of the crown. Resembling crown guards, they were date correctors on the first Odysseus and now act as pushers for the chronograph.

But there’s a twist as the pushers have dual functionality – pulling the crown out to its first stop transforms the pushers into correctors for the date and day displays, as they are on the original Odysseus. Returning the crown to its winding position reverts the pushers to chronograph activation.

The calendar functions of the Odysseus Chronograph are identical to the preceding model

Automatic chronograph

Powering the Odysseus Chronograph is the L156.1 Datomatic – the first automatic chronograph movement developed by Lange.

It is also the first Lange chronograph movement sporting a vertical clutch, which is prominently visible next to the central rotor and balance wheel. While a portion of the chronograph levers are visible thanks to cut-outs on the bridge, most of the mechanism is covered by the bridge and rotor.

A notable quirk of the movement is the “dynamic reset-to-zero function”. When the chronograph is reset, the chronograph seconds will rapidly complete a number of revolutions matching the elapsed minutes before stopping at 12 o’clock. So if the elapsed minutes was at “15”, the seconds hand will make 15 rapid revolutions around the dial as the minute hand is returning to 12 o’clock.

While novel and not found in another watch, this feature appears to be relatively straightforward. The chronograph seconds hand is most likely directly geared to the chronograph minutes wheel, on which the heart cam for the reset feature is mounted. This allows the chronograph seconds hand to “count” the elapsed minutes and rotate as the minutes are being reset.

Like the L155.1 in the base-model Odysseus, the new L156.1 is equipped with full balance bridge and a 4 Hz balance wheel. This relatively higher frequency ensures stable timekeeping even with active daily use and also allows the chronograph to measure elapsed times with a resolution of up to an eighth of a second.

The new movement has the same oscillating weight found in the original Odysseus, an open-worked rotor made of Arcap with a platinum mass along its rim

Key facts and price

A. Lange & Söhne Odysseus Chronograph
Ref. 463.178

Diameter: 42.5 mm
Height: 14.2 mm
Material: Stainless Steel
Crystal: Sapphire
Water resistance: 120 m

Movement: L156.1 Datomatic
Functions: Hours, minutes, seconds, and chronograph
Frequency: 28,800 beats per hour (4 Hz)
Winding: Automatic
Power reserve: 50 hours

Strap: Steel bracelet

Limited edition: 100 pieces
Availability: At A. Lange & Söhne boutiques only
Price: Approximately US$145,000

For more, visit alange-soehne.com.

Founded by watchmakers Gaël Petermann and Florian Bédat, Petermann Bédat made its debut with the 1967 powered by an elaborately finished movement featuring a deadbeat seconds.

Now, the duo has just unveiled their next creation which is a step-up in complexity – the 2941 Monopusher Split-Seconds Chronograph. Presented in a 38 mm platinum case and limited to ten pieces, the 2941 follows the design language of the 1967 with a transparent dial and an emphasis on movement finishing.

Initial thoughts

The 2941 at a glance is a conceptually impressive release that meets the high expectations resulting from its previous release. But perhaps one may ponder over the under-dial execution of the split-seconds mechanism (as opposed to a traditional approach that puts it on the back).

Undoubtedly, the finishing remains top notch. The movement sports numerous gracefully formed bridges and a notable emphasis on black-polished components.

More broadly, it is uncommon to see a new chronograph movement designed from the ground up, even more so a rattrapante with an instantaneously jumping minute counter.

That said, the movement architecture seems paradoxical. Part of the appeal of a finely-finished split-seconds chronograph is the intricate and layered view of the rattrapante mechanism on top of the chronograph seen through a display case back.

Thus, Petermann Bedat’s approach of installing the split-seconds under the dial is questionable, particularly considering the near-US$265,000 price tag. This is reminiscent of the industrial approach used by Breitling and Franck Muller that places a split-second module on the base chronograph movement under the dial – paradoxical considering the quality of finish found in the 2941.

This makes the price of CHF243,000 before taxes (equivalent to US$265,000 today) a little steep, despite the elaborate finish and unique architecture.

There’s the inevitable comparison with another independent watchmaker, Atelier de Chronométrie. While arguably not as meticulously finish and also not original since it’s a reworked vintage Venus 185, the Atelier de Chronométrie AdC#8 cost less than half the 2941.

That said, the 2941 is within the ballpark for as such things, namely a high-end, in-house split-seconds built as a limited run by an independent watchmaker.

The split seconds mechanism that is hidden under the dial

Modern case

As with the 1967, the 2941 dial is centred on a clear sapphire chapter ring with a centre in frosted platinum. While the clear chapter ring reveals the chronograph mechanism and keyless works, the platinum centre unfortunately hides the key element under the dial – the rattrapante mechanism. This ends up defeating one of the reasons for having the split-seconds mechanism under the dial.

The design element that jumps out are the oversized registers. The constant seconds is located at nine o’clock, mirroring the instantaneously jumping minutes register at three. Both sub-dials are large enough to be almost as wide as the radius of the dial, giving it something of a googly-eyed look.

The 2941 is a monopusher rattrapante with the start-stop pusher located coaxially within the crown at three o’clock. Meanwhile, the rattrapante pusher is located at ten o’clock – this button “splits” the blued rattrapante hand that is otherwise hidden under the gold chronograph seconds hand.

Despite the notable complication, the 2941 comes packed in a modestly-sized, 38 mm platinum case that stands 13.7 mm, giving it dimensions similar to the 1967.

The case profile is notably modern and sleek, having tapered lugs that slope diagonally outwards, creating the impression of a trapezoid case middle. Likewise, the rattrapante pusher at ten o’clock takes the form of a parallelogram, further enhancing the sleekness. The bezel has a slightly domed sapphire crystal, making the 13.7 mm thickness appear relatively svelte.

Integrated, monopusher rattrapante

Of course, the highlight of the 2941 is the cal. 202 within – a 30 mm-diameter, monopusher split-seconds chronograph with an instantaneous jumping minute counter.

Unlike most high-end rattrapantes on the market, the cal. 202 is designed with the chronograph and rattrapante mechanisms split between the front and back of the movement. Thus, while most of the conventional chronograph mechanisms are visible through the display back, the monopusher actuation lever and rattrapante mechanisms are located under the dial.

This implies that a future variant of the movement sans rattrapante is easily feasible, since the rattrapante parts can be removed, although that would leave an empty space hidden under the dial centre.

Visible through the display back is a lateral-clutch monopusher chronograph. Partly thanks to the column wheel actuation lever being located on the other side, this allows the chronograph components to be spaced out, emphasising the thin and slender steel levers.

In contrast, most manual-wind rattrapante movements have their maximum height around the centre due to the split-seconds mechanism and a high density of components, resulting in a beautifully intricate view especially when the parts are well-finished. It may be a missed opportunity for Petermann Bédat not to have have gone with a traditional rattrapante construction that would have fully showcased its finishing.

And the finishing is exemplary. The steel components are instance are constructed with many curves and inner angles, and then finished with black polishing, making them a highlight of the movement. The black polishing even extends to the curved detent springs that are visible throughout the movement in an almost-organic layout.

A signature design element carried over from the 1967 movement are the arrowheads. Here they are most prominent on the lateral clutch lever and minute counter impulse isolator.

A notable detail of Petermann Bédat movements are the exceptionally large jewel bearings in huge countersinks – here the largest of them supports the barrel and sits in a massive countersink that is framed by two of the chronograph levers encircling it in a figure-of-eight shape.

Key facts and price

Petermann Bédat Monopusher Split-Seconds Chronograph
Ref. 2941 (platinum)

Diameter: 38.6 mm
Height: 13.7 mm
Material: Platinum
Crystal: Sapphire
Water resistance: Unspecified

Movement: Cal. 202
Features: Hours, minutes, monopusher chronograph, split seconds
Frequency: 18,000 beats per hour (2.5 Hz)
Winding: Manual
Power reserve: 42 hours

Strap: Alligator leather strap

Limited edition: 10 pieces
Availability: Direct from Petermann Bedat or authorised retailers
Price: CHF243,000 excluding VAT

For more, visit petermann-bedat.ch

With at least two iterations launched since the model’s debut – first in enamel and then onyx – the Code 11.59 tourbillon is third time lucky with the latest version of the model being the most striking to date. The Code 11.59 by Audemars Piguet Flying Tourbillon Green Aventurine is in 18k pink gold with the centrepiece being the fired enamel dial dial containing crushed aventurine glass.

 Initial thoughts

Bold and contemporary appears to be the name of the game for Audemars Piguet, as the recent releases indicate a strong push of the Code 11.59 lineup refreshed with modernised and adventurous livery.

And the new Code 11.59 Flying Tourbillon delivers on that front – love it or hate it, it is a markedly distinct variation of its conservative predecessors. The green dial combined with the package of the pink gold case and black ceramic case middle offers a striking contrast that’s intriguing in person.

Colour contrast

Black ceramic is the recent trend for Audemars Piguet, as the brand has been increasingly using the material as the case middle for the Code 11.59 lineup. Sandwiched between a pink gold bezel and case back, the combination is a decidedly contemporary appearance especially when paired with the stock rubber strap.

But of course, the appeal of the new model is the green aventurine dial. Made by firing crushed aventurine glass in an 800°C furnace, the dial glimmers and sparkles under the light.

The green colour luxuriously contrasts the dial adornments – the hands, applied indices and tourbillon frame are all in pink gold. Under different angles, the glossy dial surface plays with the light, allowing the applied numerals and indices to stand out.

The view of the tourbillon cage is as impressive as it has always been. A large aperture is cut into the dial, framing the massive flying tourbillon that is unobstructed from view thanks to its clever construction.

Technical Tourby

Powering the Code 11.59 Tourbillon is the cal. 2950 – Audemars Piguet’s latest generation tourbillon movement that was first used in 2022 in the Royal Oak and Code 11.59 lineup.

While it is easy to dismiss it as just another tourbillon movement, the cal. 2950 is technically accomplished. As a flying tourbillon, it exposes the three-pronged tourbillon cage and balance wheel with no obstructions, as the motion works wheels driving the central hands are offset and hidden under the dial. The rear of the movement is also interesting, as it incorporates a visually and tangibly tactile grand sonnerie style winding click for the mainspring barrel.

Key facts and price

Code 11.59 by Audemars Piguet Selfwinding Flying Tourbillon
Ref. 26396NR.OO.D002KB.01 (pink gold, green aventurine dial)

Diameter: 41 mm
Height: 11.8 mm
Material: 18k pink gold and black ceramic
Crystal: Sapphire
Water resistance: 30 m

Movement: Cal. 2950
Functions: Hours, minutes, flying tourbillon
Winding: Automatic
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 65 hours

Strap: Rubber strap with pink gold folding clasp

Limited edition: No
Availability: At AP boutiques and AP Houses
Price: Price upon request

For more, visit Audemarspiguet.com.

Besides the Universelle grand complication, Audemars Piguet has another ace up its sleeve when it comes to its line of round watches. Originally launched a blue enamel dial, the Code 11.59 by Audemars Piguet Minute Repeater Supersonnerie gains sharper aesthetics with a smoked sapphire dial and a pink gold case.

Initial thoughts

A big part of the appeal of a repeater is the mystifying mass of racks and levers that drive the chiming mechanism and are most often hidden under the dial. Unveiling their secret is sometimes best done with the direct approach of not having a solid dial.

A clear sapphire dials is arguably perfect it for a repeater, because the complication is usually constructed on the movement’s dial side. Unlike other frontal complications such as perpetual calendars, chiming complications are highly interactive – the racks are set in motion during the chiming sequence in a mechanical dance, all while the chimes sound, a performance that elevates the appeal of the complication.

And for the Code 11.59 specifically, the tinted sapphire dial works especially well. Matched with high-contrast pink gold, it is an ideal complement for the case design as it blends an otherwise classical complication with contemporary livery that matches the modern styling of the case.

As a result, the new repeater is one of the most appealing watches in the Code 11.59 range, with an intrinsic appeal that few of its brethren possesess.

Contemporary package

While retaining the same case design, the new repeater gets a more modern set of materials. While the previous iterations of the model were entirely in 18k white gold, this has a two-tone construction with the case middle in black ceramic sandwiched by a rose gold bezel and case back.

But of course the highlight of the design is the sapphire dial, a livelier and more vivid presentation of the complication than its predecessor with an enamel dial.

Besides offering a partial glimpse into the mechanism below, the sapphire dial also catches the light, changing its appearance at various angles.

The dial design is streamlined with the pared-back indices and hands. The hour markers now omit the applied numerals at the quarters found on the original model, instead relying on simple applied batons for the hours and minutes.

Characteristic of the Code 11.59 design, the dial is encircled by an inner bezel with printed minute numerals. This ring serves to frame the movement, which is noticeably smaller than the case diameter in part to accommodate the octagonal case middle.

A familiar movement

Despite the modern aesthetics, the movement inside has been in AP’s stable for a long time. Debuted some three decades ago in its original form, the cal. 2953 is based on a traditional, manual-wind repeater movement and is evolved from the cal. 2907 found in the Jules Audemars repeater from over a decade ago. The classical construction means its requires extra care when operating the repeater, unlike the user-friendly Universelle that’s powers by a latest-generation calibre.

One detail worth noting is the space visible under the dial at six o’clock, which is explained by the fact that the calibre can accommodate a tourbillon, an added mechanism that is found in other iterations of the movement, like that in the Royal Oak Concept Supersonnerie.

Key facts and price

Code 11.59 by Audemars Piguet Minute Repeater Supersonnerie
Ref. 26395NR.OO.D002KB.01 (pink gold, smoked sapphire dial)

Diameter: 41mm
Height: 13.6 mm
Material: 18k pink gold and black ceramic
Crystal: Sapphire
Water resistance: 20 m

Movement: Cal. 2953
Functions: Hours, minutes, seconds, minute repeater
Winding: Manual
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 72 hours

Strap: Rubber strap with 18k gold folding clasp

Limited edition: No
Availability: At AP boutiques and AP Houses
Price: Price upon request

For more, visit Audemarspiguet.com.

Amongst the wave of new Royal Oaks just unveiled by Audemars Piguet (AP) is a new “Concept”, the Royal Oak Concept Split-Seconds Chronograph GMT. Historically a platform to showcase novel materials and aggressive design, the new Royal Oak Concept (ROC) continues down that route – but more notably contains an all-new and cleverly-constructed rattrapante chronograph movement with automatic winding.

Initial thoughts

Much like previous models in the ROC line, the new split-seconds chronograph is a bold statement with a chunky, aggressive case, albeit one refined to become more wearable, especially in light of its size – it is the most wearing Concept to date.

Paradoxically, the movement within the large-format case was clearly designed with thinness in mind. For a split-seconds chronograph with a big date, second time zone, and automatic winding, the movement measures a modest 8.92 mm high, svelte by the standards of the complications mix.

And in contrast to the design (which brings to mind the Richard Mille RM 11), the movement is unusually refined and clever. An example of is the rotor that’s supported by a large central hub, which provides enough space in the middle to house the entire split-seconds mechanism. This serves to both reduce thickness, while simultaneously offering a view of the rattrapante mechanism without being obstructed by the rotor.

Deceptively oversized

As with most of its counterparts in the collection, the new ROC has a geometrically-shaped titanium case defined by sharp facets and broad flanks. The form is distinct and the only similarity to the original Royal Oak is the octagonal bezel, but here amplified by enlarged hexagonal nuts.

An subtlety in the design is the curved case and bezel, a detail that aids ergonomic comfort. The arched case allows it to sit well on the wrist, enhancing wearability to a surprising degree considering the (very) large dimensions of 43 mm by 17.4 mm.

With the movement being the highlight, the dial shows it off. Like the case, the dial is aggressively styled with geometric open working. The dial plate is actually a single piece of German silver that’s skeletonised, sandblasted, and coated black, while the bevels along the edges are polished and rhodium plated for contrast.

The big date is visible through the movement bridges at 12 o’clock. Meanwhile, the GMT function is located on the sub-dial at three and can be advanced in one-hour steps via the coaxial pusher integrated into the crown.

A solid base

Powering the ROC Split-Seconds Chronograph GMT is the cal. 4407 that’s based on the cal. 4401 that underpins most of AP’s chronograph offerings.

The base movement is 6.8 mm thick and addition of a big date, GMT and rattrapante function only increases the height to 8.92 mm – an achievement in slim construction. Without the big date and GMT, the movement will fit into thinner watches, which we will see in the future no doubt.

The rattrapante pusher at 9 o’clock

Despite everything, the movement diameter is unchanged from the base version at just 32 mm. The base chronograph movement was designed from the outset to incorporate a robust flyback mechanism, featuring a myriad levers to facilitate the feature. It also has an automatic-winding mechanism on the back, which contributes to its thickness.

The cal. 4407 however, widens the rotor hub to accommodate the rattrapante mechanism. As a result, the rattrapante wheel, and pincers are visible in the centre of the movement without being obstructed by the rotor at all. This optimised rattrapante is also incorporated in the Code 11.59 Universelle that also just made its debut.

Key facts and price

Audemars Piguet Royal Oak Concept Split-Seconds Chronograph GMT
Ref. 26650TI.OO.D013CA.01 (titanium)

Diameter: 43 mm
Height: 17.4 mm
Material: Titanium
Crystal: Sapphire
Water resistance: 50 m

Movement: Cal. 4407
Functions: Hours, minutes, seconds, GMT, big date, flyback chronograph, split seconds
Winding: Automatic
Frequency: 28,800 beats per hour (4 Hz)
Power reserve: 70 hours

Strap: Rubber strap with titanium folding clasp

Limited edition: No
Availability: At AP boutiques and AP Houses
Price: CHF170,000 before taxes

For more, visit Audemarspiguet.com.

Undoubtedly the flagship of its recent new launches, the Code 11.59 by Audemars Piguet Universelle is the brand’s most complicated wristwatch in recent years – or perhaps ever.

A project that began in 2016, the uber-complication rooted in history: it is a tribute to L’Universelle, the grand complication pocket watch from 1899 made by AP for German watchmaker Union. But the watch simultaneously pushes the brand’s modern-day watchmaking to the limit, particularly in terms of miniaturising highly complex mechanisms.

The Universelle is available in two guises, the open dial above and the solid dial pictured further up

Officially one of the brand’s Research and Development timepieces – the model is also known as the RD#4 – the Universelle is an exercise in combining into a single wristwatch all the traditional mechanisms that constitute a grand complication, and then some – perpetual calendar, rattrapante chronograph with flyback, tourbillon, and grande et petite sonnerie with minute repeater.

L’Universelle on display in the Audemars Piguet Museum

Initial thoughts

An assuming name that means little to anyone who doesn’t understand the historical inspiration, Universelle is a horological behemoth that captures AP’s industrial and mechanical capability.

Though it has a highly modern design, the Universelle harks back to a bygone era of high watchmaking that prized highly complicated watches incorporating as many features as feasible into a (barely) wearable package. In today’s market where “hype” watches are prized over all else and repurposed movements feel like more like business decisions than horological creations, the Universelle is a a refreshing and remarkable achievement, especially since it is a grand complication designed from scratch.

Big but not too big

As impressive as the lengthy roll call of complications inside are its dimensions, the Universelle measures only 42 mm wide and 15.55 mm thick – big but amazingly compact considering everything going on within.

Truly sizeable is the CHF1.45 million price tag for the “base model” with a solid dial. That price and annual output (just seven this year) mean this will be accessible to but a few individuals. But it doesn’t really matter because the Universelle proves that AP is back as a watchmaker of note that is more than its octagonal creation.

The open-dial Universelle costs CHF1.7 million on account to the additional finishing required for the skeletonised front

Expansive but compact

The Universelle is being launched in four variants, three in white gold and one in pink gold. Two dial styles are on offer: an open-worked dial with bridges that match the case metal and reveal most of the perpetual calendar mechanism, and a more conventional solid dial with a restrained, instrument-like aesthetic. The latter is the discreet option as its relative simplicity belies the mechanical complexity just underneath.

The solid dials (left) and open-worked dials. Image – Audemars Piguet

Counted individually, the Universelle is equipped with 23 complications and a movement made up of 1,155 parts, but manages to cram everything into a 42 mm case that is only 15.55 mm tall. The height is an achievement as the movement is self winding with a full rotor visible through the display back that sits under the hinged, hunter back. One innovation that explains the height is the split-seconds mechanism integrated into an aperture within the rotor – more of that below.

Despite being a highly complicated watch, the Universelle is user friendly, perhaps the easiest watch to adjust and set in the rarefied grand complication sphere. All settings are accessible by hand thanks to good-sized buttons, doing away with the need for tools to activate tiny, recessed pushers.

The hinged back. Image – Audemars Piguet

The three pushers on the right case flank are typical of a split-second chronograph, with start and stop at two and four o’clock respectively, while the rattrapante pusher is integrated into the crown at three o’clock. In fact, both the start and stop pushers are also nested coaxially into separate crowns for added functionality on a single axis – the crown at two o’clock toggles the sonnerie striking mode, the middle is conventional time setting and winding, while the crown at four is for quick adjustment of the perpetual calendar.

The black solid dial variant. Image – Audemars Piguet

Meanwhile, the left flank of the case is surprisingly straightforward and contains only only three pushers – a quickset corrector for the day, another for the moon phase, and most importantly the minute repeater activation pusher. Each of the pushers and crowns on both sides of the case are appropriately labelled with engraved symbols or acronyms to denote their functions, making them almost foolproof.

The practicality of the watch is further boosted by the fact that is both shock resistant and water resistant to 20 m.

The left side of the case with its three pushers. Image – Audemars Piguet

A monumental movement

Of course, the entire point of the Universelle is the movement within – the cal. 1000. The movement stands just 34.3 mm wide and 8.75 mm thick yet manages to check all the boxes that define a classical grand complication, namely a split-seconds chronograph, perpetual calendar, and minute repeater.

However, the cal. 1000 goes several steps further with the addition of a tourbillon, flyback chronograph, automatic winding, and a grande et petite sonnerie – a rare complication even by modern standards. In fact, the only commonplace modern complication that’s not included in the cal. 1000 is probably the a power reserve indicator, a function that is arguably moot given the automatic winding.

The near symmetrical dial. Image – Audemars Piguet

In some ways the cal. 1000 is old school in terms of construction. It is layered like most historical grand compilation movements. The uppermost layer, closest to the crystal, is the perpetual calendar that borrows the innovations that characterise the ultra-thin calendar in the Royal Oak RD#2.

The most notable feature of the calendar the reduction of the 48-tooth calendar programme wheel to a single layer, reducing the height of the calendar module. But the cal. 1000 dials up the complexity of the calendar beyond that of the RD#2 by adding a big date at 12 o’clock, along with a two-digit year indicator at four o’clock.

Below the calendar module is the base movement, which is derived from the family of calibres that include the cal. 4401, the brand’s workhorse chronograph movement. The cal. 1000 naturally is far advanced beyond the cal. 4401 that’s merely a flyback chronograph movement. It adds into the mix a split-seconds chronograph and flying tourbillon, as well as the grande sonnerie that is based on AP’s historical grande sonnerie movement.

One of the key innovations that helped keep the movement as thin as possible is the integration of the rattrapante within the automatic winding mechanism. The rotor is supported by a large central hub that is open in the middle, creating a space for the entire split-seconds mechanism. The same co-axial split-seconds is also found in the just-launched Royal Oak Concept Split-Seconds GMT.

The split-seconds mechanism is visible within the rotor. Image – Audemars Piguet

All of that mechanical complexity is visible below a hinged, hunter back that is actually the outer resonating case back of AP’s Supersonnerie device. It’s essentially a double back that amplifies the chimes of the striking mechanism. In a conventional Supersonnerie the outer back is fixed; here it is hinged but performs the same function.

Key facts and price

Code 11.59 by Audemars Piguet Universelle
Ref. 26398BC.OO.D002CR.01 (white gold, black dial)
Ref. 26398BC.OO.D002CR.04 (white gold, beige dial)
Ref. 26398BC.OO.D002CR.02 (white gold, openworked dial)
Ref. 26398OR.OO.D002CR.01 (pink gold, openworked dial)

Diameter: 42 mm
Height: 15.55 mm
Material: 18k white gold or pink gold
Crystal: Sapphire
Water resistance: 20 m

Movement: Cal. 1000
Functions: Flying tourbillon, big date, moon phase, perpetual calendar, split seconds chronograph, grand sonnerie, minute repeater
Winding: Automatic
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 64 hours

Strap: Leather strap with matching 18k gold folding clasp

Limited edition: No
Availability: At AP boutiques and AP Houses
Price: CHF1.6 million with open dial; CHF1.45 million with solid dial (prices exclude taxes)

For more, visit Audemarspiguet.com.

A hallmark of Greubel Forsey’s unique brand of watchmaking is its inclined, high-speed tourbillon that completes two and a half revolutions per minute. In fact, it was the first tourbillon by Greubel Forsey (GF) when the brand made its debut in 2004.

Almost two decades on, the brand’s quintessential regulator has been installed in something entirely different with the Tourbillon 24 Secondes Architecture. While the inclined tourbillon remains, the Architecture is almost entirely new as a watch, comprising a brand-new case design containing a reconstructed movement – that is a tangible realisation of architecture – which together form a cohesive whole.

Initial thoughts

The Architecture may seem like just another GF sports watch at first sight, so one might dismiss it as being merely a repurposed movement modified to fit into the brand’s bestselling sports watch case. But it is more than that.

The inclined tourbillon has been transformed into something refreshingly novel where the whole is greater than the sum of the parts. And it manages to be novel despite high-end sports watches being increasingly common. In short, it’s one of the most notable watches in the GF line-up.

Despite the familiar mechanics of the tourbillon, the details of the movement have been comprehensively reimagined to emphasise the brand’s distinctive approach to movement construction, one that prizes three-dimensionality in design matched with impeccable finishing.

This incremental improvement that builds on the original inclined-tourbillon calibre is crucial in setting the Architecture apart from all of its predecessors. In fact, the Architecture is arguably the most impressive version of the movement to date, a quality that is especially apparent when the watch is examined up close.

One of the defining characteristics of the Architecture is the design – of both the movement and case – which is ultra-modern like GF’s other sports watches, but takes the visual experience a step further with an increased depth of field. Put simply, there is more of the movement visible from every angle than before.

To achieve that, the movement has been thoroughly skeletonised, while many key parts are deliberately tall, creating a sense of depth while offering a spectacular view in profile thanks to the sapphire case middle. Like many GF watches, the Architecture is very thick, but it utilises all of the height for maximum visual impact.

And importantly – this is a Greubel Forsey after all – the movement finishing is excellent. The top-class decoration boosts the appeal of the beautifully constructed movement exponentially. The exaggerated, structural bridges are a highlight: each has been mirrored polished on both flat and gently curved surfaces.

To accommodate all of that, the case is necessarily massive at almost 17 mm high with a bezel that’s 45 mm in diameter. But like GF’s other sports watches, the smartly designed case minimises the perceived size of the watch. It still looks large on the wrist, but not enormous and unwieldy.

The streamlined design also has surprisingly good ergonomics for a watch of this size. The case is slightly curved while the strap integrates into short lugs, so it sits well even on smaller wristwatches. That said, there’s a nit to pick here: the double-fold clasp does feel bulky and not quite as sleek as the watch itself.

Architectural exterior

Extra-large yet sleekly formed, the curvaceous case resembles earlier GF sports models at a distance, but immediately becomes distinctive when viewed from the side. Both the lugs and and flanks have been extensively reworked, setting it apart from the standard sports watch case. The result is a case that melds the sports watch concept with the mechanical theme of an exposed movement.

The Architecture case is unorthodox in all respects. In fact, it’s more accurately described as a clear sapphire ring sandwiched between the titanium bezel and case back. And the lugs are “floating” – they sit a tiny, indiscernible distance away from the sapphire ring and are instead a single piece with the case back.

The sapphire case middle offers a view into the movement…

From both sides

While the brand has utilised sapphire windows on its cases before, the Architecture has the sapphire window encapsulate the perimeter of the movement, putting it second amongst GF watches in terms of transparency after the Double Balancier in sapphire.

But even the all-sapphire Double Balancier is arguably less interesting compared to the Architecture, as the latter’s sapphire case middle is entirely round. This allows plenty of light to enter from multiple angles, allowing for a brighter view of the dial components.

And of course the movement is fully visible from a side, a crucial perspective the design because the movement has been developed from ground up to look tall, spacious, and architectural. In fact, the view through the side of the case is akin to an urban landscape of densely-spaced buildings, but made even more impressive in miniature.

The barrel is visible at far left, while the column holding the red seconds hand is on the right

In principle, the most important aperture is at six o’clock, revealing the high-speed tourbillon within. Due to the tall case, the tourbillon can be admired even when on the wrist – a view further enhanced by the abundance of light entering the case which allows the polished bevels of the cage to subtly gleam as makes its 24 second rotation. Add to that the incline balance wheel and the tourbillon is certainly intriguing to observe.

But there is an argument to be made that the power reserve mechanism visible at two o’clock is equally intriguing – that will be explored in detail below.

The tourbillon seen through the six o’clock window

To further emphasise the complexity of the case, the bezel and front crystal aren’t flat and round as on a conventional watch. Instead, they resemble a riding saddle, with a double curvature and oval shape, which have become a hallmark of GF sports watches.

First seen on the GMT Sport, the curved oval has since been refined on the Architecture such that it is less pronounced, resulting in a proportional and balanced aesthetic that is pleasing to the eyes while still allowing plenty of light onto the open-worked dial.

And in typical GF fashion, the inner step of the bezel is laser engraved with themes core to the brand’s philosophy, albeit in a more discreet manner than in several past models due to the smaller volume of text – there are only nine words on the bezel – arguably a step in the right direction.

Impressive as the case is, perhaps one criticism can be made: the bezel is secured to the case back via screws that fasten to the inner walls of the case. These screws are clearly visible from the sapphire windows on each side of the case, a minor distraction when viewing the more important components within.

Because of the streamlined form of the case, the lugs are integral to the design. They have been designed expressly to showcase the strong lines that define the case. Despite not being connected to the case middle, the lugs flow almost seamlessly into the case.

Compared with GF’s past watches, the Architecture’s lugs are more complicated in terms of design and finish. The tops of the lugs are distinctly flat planes with a brushed finish, which contrasts them with the curved, polished flanks. Adorned with a mirrored bevel, the flat top surfaces of the lugs are mechanical and aggressive while their sides offer a fluid and organic appearance.

The sides of each lug have been fluted to create a deep, polished channel flanked by brushed borders – it’s a good combination because the mirrored surface becomes less obvious due to its concavity. And despite the highly modern style of the watch, details like the lugs calls to mind the fluid lines of 1930s race cars.

The “floating” lugs sit an indiscernible distance from the sapphire ring

To top it off, the lugs have been designed for good ergonomics, hence the taper downward towards the strap.

Wearability is also aided by the buckle. The monolithic case is balanced with an equally hefty folding clasp, which is similar to that found on other GF watches, making it seem almost ordinary in comparison to the delicately complex case. Though the finishing of the clasp is impeccable, it doesn’t have quite the same streamlined feel as the case.

A bracelet is not available for the Architecture yet, but I am certain one will be, as is the case for the other GF sports watches. With the typical GF bracelet in titanium priced around US$40,000, it will be an expensive option, but will no doubt enhance the flowing lines of the case.

Deconstructing the movement

While the case construction is impressive, it is undoubtedly the movement that is the most tangible realisation of the GF philosophy.

The Architecture’s movement appears familiar at a glance, for good reason since it is one of a number of variants of a base calibre. But each variant has a gear train rearranged to fit each model’s overall aesthetic.

Notably, its closest relative is the Double Tourbillon Technique that shares many similar elements, but as the name implies, the Double Tourbillon Technique has a more complex, double-axis tourbillon and more mainsprings, four of them to be exact, instead of the three in the Architecture.

GF movements are often unconventional in terms of layout and typically asymmetric, reflecting the design ethos. As a result, each calibre is almost a tiny horological puzzle when it comes to understanding the basics of the movement.

That said, GF most movements are fundamentally conventional at their core, so they can be figured out after some contemplation, as is the case with the Architecture. Knowing how the Architecture functions does demystify its intricate-looking mechanics, which perhaps diminishes some of its esoteric charm, but it doesn’t take away from the fact that the movement is a visual treat.

The power flow in the going train

At its core, the Architecture has a straightforward going train that starts from the barrel, then progresses to the second and third wheel, which drives the tourbillon cage.

Additionally, the third wheel drives an auxiliary pinion, which powers the seconds hand visible on the dial side. One notable quirk is that the gear ratio between the third wheel and tourbillon cage is 2.5 times larger than the ratio between the third wheel and the seconds pinion, explaining how the tourbillon cage rotates once every 24 seconds (since 60 seconds divided by 2.5 is 24).

Note the seconds hand pinion has 2.5 times more teeth than the tourbillon cage pinion

The seconds hand is a necessity since the tourbillon makes a revolution every 24 seconds, instead of the conventional one-minute rotation of a traditional tourbillon

The regulator

The tourbillon itself is of the brand’s traditional design and can be found on other GF watches with the same tourbillon, such as the Tourbillon 24 Seconds Vision. It rotates the balance wheel once every 24 seconds at an incline of 25° from the horizontal.

In theory, the incline allows the balance wheel to sequentially occupy across more positions in three-dimensions, which further averages out the positional errors caused by gravity when compared to a conventional tourbillon that was conceived to constantly rotate the balance in a fixed, vertical position. However, timekeeping accuracy is more of an academic exercise than practical necessity in the realm of six-figure watches like this.

The inclined tourbillon with its two-armed cage

Made of lightweight titanium, the tourbillon cage is thin and shaped like a tuning fork, which further reduces its weight. The reason for the two-pronged end on one side of the cage is poising – it adds slightly more mass to counterbalance the weight of the escape wheel and pallet fork on the other end.

An interesting detail only true nerds will appreciate can be found within the tourbillon. As with all types of tourbillons, this has a fixed wheel that functions as the hub to rotate the escape wheel as it is dragged around by the tourbillon cage.

But because it is an inclined tourbillon while the fixed wheel sits parallel to the plane of the movement, both the fixed wheel and escape wheel pinion require teeth that are cut at an unconventional incline, something that is distinctly uncommon in watchmaking.

The tourbillon cage is finished with straight graining on the top and and anglage along the edges. It is finished in the manner typical of other GF models with the same 24-second tourbillon. That means it isn’t as elaborately executed as the higher-end double tourbillons that have black-polished, rounded arms and sharp corners within the anglage.

A nitpick here is that the tourbillon is simpler than the brand’s flagship, twin-axis Double Tourbillon, which is not only more complex mechanically but also has more complex finishing. But the 24-second tourbillon is perhaps more apt for a sports watch, especially one with a face as busy as the Architecture. Less is more in this case, as a simpler tourbillon does distract too much from the other visible movement components, of which there are many. And of course, the high-speed nature of the 24-second tourbillon and its resulting stability fit the concept of a sports-watch.

The low-key finishing of the tourbillon cage is made even more prominent when compared to the highly mirror-polished titanium arch that supports the cage

Arches, arches, all around

That is probably because the Architecture is not all about the tourbillon, but rather the architecture of the movement that is embodied by the five black-polished titanium bridges that support the major components.

At a glance the bridges appear arranged in a haphazard manner, which is paradoxically a nod to traditional watchmaking. Their positions are reminiscent of traditional pocket watch movements where the bridges are fixed to the base plate at seemingly arbitrary angles.

This seemingly chaotic layout, with all the bridges at different angles, ironically result in a coherent aesthetic, a feat few brands are able to pull off.

And the coherence of the design is enhanced by the fine finishing across all the components. The high level of decoration makes it clear that every part, no matter how small, was carefully conceived, so nothing seems like it was tacked on as an afterthought.

However, the Architecture goes a step beyond the usual high level of finishing GF is known for. The arched bridges are exceptionally well finished.

Each of the arches feature complex curved surfaces, yet still exhibit crisply uniform anglage along their edges that neither disrupt the curvature or reveal any hints of unevenness. Each bridges impressively manages to achieve a delicate balance and avoids looking either plain and flat or being over-polished to the point of being excessively rounded.

Amidst all the visual complexity on the front, the time is still displayed conventionally with central hour and minute hands. However, the hands are elevated by an impressively tall tripod, allowing them to clear the numerous raised components.

Because the hands are raised, they require an elongated pinion. That in turn calls for a jewelled bearing, visible within the tripod, so as to minimise the extra friction of the extended pinion.

And of course, the tripod itself is well finished – finely frosted across its surfaces, while having many edges with neatly rounded bevelling.

While majority of the movement is visible on the dial, that conversely means some parts are inevitably hidden. The keyless works and intermediate wheels are positioned deep inside the movement, under the power reserve mechanism. In other words, they sit under the main plate on the back.

A full-sized “diff”

Besides the arched bridges and the tripod for the hands, another of the architectural highlights of the Architecture – no pun intended – is the exposed power reserve mechanism. While conventional in mechanical terms, the open-worked dial exposes the details of the mechanism, allowing the wearer to enjoy a visibly tangible interaction with the movement when winding it.

Especially notable is the use of a full-sized, spherical differential, which is made up of a spider gear and perpendicular planetary gears sandwiched between two sun wheels.

Also found in other GF movements with power reserve displays, this type of differential is similar to those found in automobile transmissions, but its size means it’s only used in watches that can accommodate the thickness. In comparison, conventional power reserve mechanisms used in thinner watches use flat planetary gears, which are less interesting visually but are usually hidden under the dial in any case.

A closeup of the differential with its two superimposed sun wheels in brass

The red indicator for the power reserve

The spherical differential in the Architecture is large and visually impressive, and can be seen in action – turning as the barrel is being wound – through the sapphire window next to the crown.

The exposed mechanism makes it easy to understand. The spider gear measures the rotational difference between two sun wheels; this difference rotates a pinion that then turns the power reserve indicator, which is a toothed rack that has a tiny red arrow on its edge to point to the state of wind.

The upper sun wheel is driven by the winding train, which is visible from the dial side, underneath the differential. As a result, the wearer enjoys an animated spectacle when the crown is turned to wind the watch – the winding wheels, barrel, spider gear, and power reserve rack rotate in unison.

Meanwhile, the lower sun wheel is continuously driven by the going train. While it is unfortunately hidden by the main plate, the sun wheel rotates at an imperceptibly slow rate as the mainspring unwinds, making it less of a priority in terms of aesthetics.

Notably, the GF Double Tourbillon 30° Technique in ceramic has a similar mechanism with clear sapphire bridges that fully reveal the movement trains.

The barrel containing three stacked mainsprings as seen from the dial

Geometric landscape

While the main plate visible through the back might seem sparse compared to the intricate front, every element is still impressively executed.

Of particular interest is the lower pivot of the differential that’s mounted on an elaborate tripod, similar to the one supporting the hands. It is equally well finished, right down to the chamfered edges and slots on the screw heads. And the tripod also sports a chaton for the jewel at its centre that holds the differential pivot. The chaton is an entirely unnecessary extra that is both beautiful and points to the mechanical function of the bridge.

But unlike the tripod for the hands, this is superfluous in regards to functionality; a simpler bridge or a closed movement plate would work exactly the same. Yet, this elaborate approach to its finish and appearance is exactly what GF movements are appreciated for. At the same time, the tripod bridge highlights the importance of the oft-overlooked differential mechanism.

One criticism would be the main plate appears too clean, as if it was a result of a purely industrial process with no handwork. Take for example the conical sloping walls around the differential tripod – they are clearly a product of CNC machining, albeit highly skilled machining as it is more challenging to machine rounded surfaces cleanly compared to just flat, vertical surfaces.

But the main plate is not merely about modern-day machining because there is much hand finishing evident. Notably, many of its edges exhibit fine, rounded anglage that’s not especially wide due to the thinness of the plate, but executed to the highest level and with an incredible uniformity.

It also helps that the main plate is finely frosted in the typical GF style, instead of sporting Cotes de Geneve. The clean appearance of the frosted surface complements the anglage well and emphasise its mirror polished nature. And for colour contrast, the gold chatons holding the rubies break the monochromatic monotony of the bridges and plate.

The complex geometry of the bridges are in fact, the main point of the Architecture – it is all about mechanical form over function, but done in a tasteful manner with impeccable and elaborate quality.

As an example of that quality, it is worth paying attention to the bridge for lower pivot of the tourbillon. While it would have been easier as a one-piece, closed plate, the Architecture opts for an approach that is elaborate, almost to the point of excess.

The bridge supporting the underside of the tourbillon cage is a massive, concentrically-brushed ring with an “A”-shaped cantilever to support the pivot. The ring also has a jewelled chaton within its edge for the pinion of the third wheel. And of course, all its edges boast uniform anglage with a generous number of inward and outward angles.

Less obvious but equally worthy of admiration is the complex, machined form of the main plate around the ring. It has an intricate, sculpted profile reminiscent of the cast-metal casings for industrial gearboxes as one might find on a large ship for instance. But of course, this is done on a radically smaller scale and intricately finishing. The surface is finely frosted and free of the machining marks that inevitably result from milling the curved profile, especially at this size.

The same can be observed on the area over the keyless works, which is a myriad of planes inclined at various angles with curved edges,  offering an intriguing aesthetic that further emphasises the asymmetrical design.

In summary, the Architecture movement presents a surprising mix of elements that seem both haphazardly placed and industrial, but up close it reveals refined, impeccable finishing as expected from the brand. The result is coherent and reflective of the theme and style of the watch. In short, the design is more contemporary than GF’s earlier calibres, but the execution is just as good.

Conclusion

If it is not obvious by now, this is now a watch to be dismissed as yet another attempt at a high-end sports watch.The Architecture is a prime example of a great design executed well results in a whole that is greater than the sum of its parts. Many of its constituent elements are clearly borrowed from GF’s past creations, yet the watch feels satisfyingly congruent.

While the tourbillon inside isn’t the most type made by GF, the overall execution of the movement is certainly one of the most elaborate to date. The Architecture is a watch where one should enjoy the forest instead the trees, but paradoxically the requisite level of enjoyment is only possible with the impeccably finished individual components that few others can pull off so successfully.

Key facts and price

Greubel Forsey Tourbillon 24 Secondes Architecture

Diameter: 47.05 mm (case band) and 45 mm (bezel)
Height: 16.8 mm
Material: Titanium and sapphire
Crystal: Sapphire
Water resistance: 50 m

Movement: Tourbillon 24 Secondes Architecture
Functions: Hours, minutes, seconds, power reserve indicator, and tourbillon
Frequency: 21,600 beats per hour (3 Hz)
Winding: Hand-wind
Power reserve: 90 hours

Strap: Rubber strap with titanium folding buckle

Limited edition: 11 pieces in 2022, and then 18 pieces each year from 2023 until 2025
Availability: Starting end 2022 at authorised retailers
Price: US$500,000; or 706,200 Singapore dollars including GST

For more, visit Greubelforsey.com and Sincere.com.sg

This was brought to you in partnership with Sincere Watch, the retailer for Greubel Forsey in Southeast Asia.

While better known for his ingenious and quirky wristwatches, Konstantin Chaykin’s roots are in clockmaking, large, complicated, and ornate clocks to be exact. Six years in the making, his latest timekeeper is the Lucomorye Clock, a testament to the Russian watchmaker’s aesthetic vision and mechanic prowess.

Lavishly decorated with gemstones and precious materials by renowned Russian jeweller, Ilgiz Fazulzyanov, the Lucomorye Clock has a fairytale exterior. But perhaps more significant are the fascinating mechanics centred on a remarkable way of displaying the hours – a chain wraps around a drum to display to form of Roman numerals that change with the time. The simplicity of the chain belies the mechanical complexity within, which is naturally patented.

Initial Thoughts

Mr Chaykin’s rise to fame internationally started with the Joker, a whimsical wristwatch with an amusing “rolling eye” display. But though the Joker and its successors remain Mr Chaykin’s bestsellers, they are not the best representation of his creative and mechanical genius.

His talents are illustrated best with clocks, which have no limitations in terms of size, allowing for intricate complications impossible on a small scale. Amongst his most notable clocks is the series of Easter-themed clocks that he released annually starting in 2005, each with a complication to indicate the date of Orthodox Easter – an unconventional and rare complication due to the complexity of calculations required to achieve the display.

The complicated Cal TLU.04-0 inside the elaborately adorned exterior of the Lucomorye

The Lucomorye is one such mechanical marvel – a complex movement with most of its constituent parts dedicated just to the chain-and-drum hour display. This is complemented by the ornate exterior made of precious stones, gold, and other expensive materials, all delicately crafted by Mr Fazulzyanov.

The motivation

The genesis of the Lucomorye was the novel mechanism to display the hours, which Mr Chaykin first devised in 2016. It’s essentially a chain that progressively wraps around a rolling drum, but because of a horizontal sliding carriage that shifts the coil of the chain, it wraps at different angles as time passes.

By carefully controlling the motion of the sliding carriage, the chain can be used to depict Roman numerals from “I” to “XII” in order to indicate the hours. This is made possible as all the Roman numerals from one to 12 are comprised entirely of straight lines.

Unfortunately, the mechanism was too unwieldy for a wristwatch, due to the energy it requires and space it occupies. Thus, the natural solution was a table clock.

The concept of winding a chain around a shaft in turn inspired the theme of the clock, which depicts scenes from Alexander Pushkin’s poem Ruslan and Lyudmila. The opening lines of the poem read: “By the sea stands a green oak tree; A golden chain strung round it…”. Coincindentally, the launch of the Lucomorye Clock is taking place on the 200th anniversary of the publication of the poem.

To realise his aesthetic vision, Mr Chaykin approached a fellow Russian artisan, jeweller Ilgiz Fazulzyanov. The idea was to create a thematic composition inspired by Lucomorye, the mythical region oft mentioned in Russian folklore and also the setting for Pushkin’s poem. Various characters from the poem are incorporated on the exterior of the clock, which has an oak tree at its centre.

Mr Chaykin assembling the movement of the Lucomorye Clock

Mr Fazulzyanov at work, carving the jade figure of the mermaid

Mr Fazulzyanov used a variety of gemstones for the ornamentation, including both Australian boulder opals and Ethiopian fiery opals for the tree trunk, while the oak leaves actually jade plates engraved with a leaf motif and then finished with cloisonné enamel on their edges.

The result is breathtaking, with the pictures of the clock speaking for themselves.

A mechanical computer

While the exterior of the clock is an incredible fairytale landscape, the star of the show from a horological standpoint is the cal. TLU.04-0 within. In essence, the clock only indicates the hours and minutes, with the seconds shown via a one-minute tourbillon, along with the additional complications of a simple date and power reserve.

However, the movement comprises a whopping 1,119 parts, with the entire chain for the hours counted only as one component (counting the individual links of the chain would have more than doubled the part count). Many of those components are part of the hour display mechanism, which might seem initially surprising given the simplicity of a conventional hour display. But that quickly becomes understandable if the hour display is thought of as an automaton, requiring myriad of cams and levers to function.

Mr Chaykin patented the hour display mechanism with patent RU2619032 filed in March 2016. While the patent describes the general method of displaying the hours, the specific mechanical implementation is open to interpretation, with Mr Chaykin’s execution of the idea inside the Lucomorye clock illustrating the immense complexity of the mechanism.

Excerpts from Patent RU2619032. Fig. 1 demonstrates a hypothetical wristwatch with the display, Fig. 2 illustrates the carriage mechanism to control the chain, Fig. 3 is an example of a studded drum to hold the chain in place, Fig. 4 showcases the sequence to display the “XI” as an example, and Fig. 5 shows all possible display of the Roman numerals from one to 12.

The hour display consists of a studded drum that holds the chain in place. As the drum rotates, the chain sequentially displays the Roman numerals from one to 12. Each time the hour changes, a sequence of events occur, making the hour display akin to an automata.

First, the chain unwinds entirely from around the drum, resetting the hour display. Then, the drum slowly rewinds the chain in a controlled manner, with the horizontal sliding carriage directing the chain to create vertical or diagonal lines across the drum, allowing it to display any of the Roman numerals from “I” to “XII”.

An animation of the hour display switching from “III” to “IIII”

The reason for the complexity of the mechanism is the precise synchronisation required of the carriage and drums to create each hour numeral. For instance, the horizontal sliding carriage has to slide back and forth to form the numerals “V” or “X”, but the drum has to perform a different number of revolutions for each numeral.

As a result, every one of the 12 hours has its own pair of cams that control the horizontal motion of the sliding carriage and the rotation of the drum. This means the movement has a total of 24 cams to encode all the mechanical information needed to display the hours. The 24 cams are stacked together to create a single tower that rises one level after every hour in order for the racks to “read” the outline of the cam. This is reminiscent of the mechanisms found in complex mechanical automata such as the 18th dolls built by Pierre Jaquet-Droz that could write a fixed text.

The stack of 24 cams is visible on the left, with a pair of racks that transmit the mechanical information to its right

The hour display requires four separate barrels to function – one for timekeeping and three to power the hour display. Collectively, they provides a power reserve of eight days, which is indicated by a vertical power reserve indicator in the form of a bug climbing along the oak tree.

Minutes are indicated via a simple rotating disc visible visible in an aperture under the window for the hours. A simple date is also visible in circular window just below the helmeted figure representing the wizard Chernomor of the poem. And of course, a 60-second flying tourbillon is located above the hours and visible within a cutout on the tree trunk, serving to indicate the seconds.

The hours displaying “IX” and minutes in between “33” and “34”

Key facts and price

Konstantin Chaykin Lucomorye Clock

Height: 47 cm
Diameter of base: 41 cm
Weight: 16.4 kg
Materials: Duralumin, silver, jade, opal from Australia, fire opal from Ethiopia, and enamelling

Movement: TLU.04-0
Functions: Hours indicated with chains on rotating drums, ring minute indicator, one-minute tourbillon, ring date display, and vertical power reserve indicator
Winding: Key wind
Power reserve: 8 days

Limited edition: Unique pieces created at a client’s request
Price: Unavailable

For more information, visit Chaykin.ru.

A. Lange & Söhne first unveiled their first minute repeater in 2013, in the form of the Grand Complication. It took two more years for the unveiling of a simpler – yet still complex – model in the form of the Zeitwerk Minute Repeater.

Finally, seven years later, Lange unveils the Richard Lange Minute Repeater – a no-frills, classical three-hander with the coveted chiming feature.

Initial Impressions

Surprisingly slim and impressive in terms of acoustics, the Richard Lange Minute Repeater feels like a conservative release from the brand, but one that is much needed in the brand’s lineup – especially for those looking for a classically-styled minute repeater compared to the Zeitwerk.

At first glance, it feels like an odd watch relative to the rest of Lange’s catalogue – we’ve taken for granted that Lange usually designs movement that are distinctively unique, especially for complications. In fact, the minute repeater mechanism and overall layout feel like a traditional Swiss calibre, albeit one with a German aesthetic.

This can be forgiven as there’s only so many ways to design a minute repeater in a classic three-hander. And the brand still innovates – the repeater has practical high-end features compared to most of its peers, such as safety mechanisms and eliminating the pauses between the hour and minute strike.

But arguably the best quality of the watch is its tactile feel. It feels and sounds good on the wrist – the case is unusually thin for a Lange complication, while the chimes are harmonious and loud.

This all comes at a cost. At €409,000, it is only slightly cheaper than the Zeitwerk minute repeater, which is more architecturally unique and a strong brand icon. But within the rarefied realm of the complication, relative cost is less of a factor to the potential owners – now potential owners have the choice of classical or contemporary design.

German Svelte

The overall aesthetics of the Richard Lange Minute Repeater is almost identical to the original Richard Lange Pour Le Merite – both have identical dial layouts as three-handed watches with Roman numerals. Both have three-part dials made of fired enamel that are soldered together.

All of the print on the dial is also fired enamel. That includes the railroad minute track with a single red hashmark at 12 o’clock.

The Minute Repeater has compact dimensions considering the complication – only 39 mm wide and 9.7 mm thick, which is elegantly svelte. That makes it smaller than the Richard Lange Pour Le Merite, which is 1.5 mm wider and 1.0 mm thicker.

The case diameter doesn’t include the minute repeater lever, which sits on the left flank of the case as with most traditional minute repeaters. Conveniently, the watch has a water resistance of 20 m, unlike some other slide-operated minute repeaters.

Swiss style and German innovation

While the external aesthetics are familiar, the movement inside is entirely new. The cal. L122.1 is Lange’s first pure-play minute repeater movement that goes without other accompanying complications.

The calibre number indicates the development history of the movement – the first two digits reveal development of the movement started in 2012, while the last digit indicates that this is the second movement begun in the same year (the first being the L121, which is the base movement of the latest-generation Lange 1).

While not normally visible, stock photos reveal the minute repeater mechanism underneath the dial. At a glance, the mechanism appears familiar – reminiscent of a Swiss minute repeater, which is a little odd coming from a German brand that prides on unusual movement configurations. That said, there are only so many ways a traditional three-hander minute repeater can be constructed.

Still, a closer examination reveals it is a Lange calibre. In its usual fashion, the brand incorporated some useful upgrades.

Most notably, there is a pause-eliminating feature achieved via a modified configuration of the sampling racks. In contrast, traditional repeaters would have a long pause between the hour and minute strikes when there are no quarters to be sounded, in other words during the first 14 minutes after the top of the hour.

An especially useful feature is the safety mechanism of the keyless works. When the crown is pulled out, the repeater cannot be activated – preventing damage to the snail cams and racks that can happened with an adjustment of the time while the repeater is in action.

Conversely, the safety mechanism ensures the crown cannot be pulled out when the repeater is in action. These features are incorporated via a set of interlocking levers, running along 12 o’clock of the movement.

The safety mechanism

Like most Lange watches, the movement is visible via a display case back. The base is of a traditional minute repeater construction – the going train for timekeeping occupies half of the movement, with a large barrel supplying 72 hours of power reserve. The other half of the movement is dedicated to the repeater hammers, secondary barrel for the repeater, and governor.

Aesthetically, the movement is dressed up in typical Lange fashion – the bridges are German silver decorated striping and enhanced with gold chatons for the jewel bearings. And it features a hand-engraved balance cock holding the free-sprung balance wheel, along with a steel swan’s neck for adjusting beat error.

Key facts and price

A. Lange & Söhne Richard Lange Minute Repeater
Ref. 606.079F

Diameter: 39.0 mm
Height: 9.7 mm
Material: Platinum
Crystal: Sapphire
Water resistance: 20 m

Movement: L122.1
Functions: Hours, minutes, seconds, and minute repeater
Frequency: 21,600 beats per hour (3 Hz)
Winding: Hand wind
Power reserve: 72 hours

Strap: Crocodile with deployant

Limited edition: 50 pieces

Availability: At A. Lange & Söhne boutiques only
Price: €409,000 including 19% VAT

For more, visit alange-soehne.com.

A member of the Académie Horlogère des Créateurs Indépendants (AHCI), John-Mikaël Flaux is no stranger to automata and clocks. His most recent creation however, is something smaller and wearable – an automata wristwatch, the Homage to Al-Jazari.

The watch pays tribute to the Elephant Clock, a fascinating and exotic timekeeper conceived by the 12th century inventor and mathematician, Ismail al-Jazari. While not an exact replica of the original – the ancient clock was powered by water and gravity – Mr Flaux’s creation artfully captures the theme of the clock with a jumping half-hour automata and an equivalent 24-hour day night indicator, complemented by miniature painting on the front and back.

Initial Thoughts

The Homage to Al-Jazari is undeniably intriguing, both mechanically and visually.

The watch has a brave design that is striking. The complexity of the dial means legibility isn’t the best, or even decent, but that’s besides the point.

While its key complication, a jumping half-hour mechanism, is not technically complex, the integration of the thematic elements into a cohesive display modelled on the ancient clock means the whole is greater than the sum of its parts. In other words, the Homage to Al-Jazari lives up to its name.

But it is also a missed opportunity. The jumping automata display would have been perfect if paired with a simple chiming function, though that would’ve significantly increased the complexity, due to the requirement of a base movement with a bigger barrel in order to power an audible chiming mechanism.

Priced at CHF 49,000, the Homage to Al-Jazari might appear steeply priced since the base movement is a modified Unitas. However, its value is more than just the base calibre, but rather the inventiveness of the time display, the artisanal nature of the miniature paintings, as well as the hand finishing of the dial components.

30-minute jumps

The dial has much going on, despite it being a time-only watch without even a seconds. The sub-dial at 12 o’clock contains the entirety of the time indication, while the rest of the dial is related to the automata.

A single blued hand indicates the minutes as on a conventional watch. Visible through a small window just under 12 o’clock is a 24-hour disc that indicates the hours.

Additionally, the periphery of the disc is fixed to a ring that indicates the day and night through a series of circular perforations on the dial. This mimics the time display of the Elephant Clock.

Like the clock, the watch has a half-hour jump mechanism. The hour disc jumps forward by half an hour, or 7.5°, every 30 minutes as the minute hand passes through the six or 12 o’clock positions.

Because of its unusual approach to telling the time, the watch is neither initiative nor easy to read, though it is certainly interesting.

Reading the time takes some getting used to

The time display works in tandem with the automata, presented in the form of twin dragons. As time progresses, the dragon on the left slowly travels downward until it is released on the half-hour jump – whereby it jumps upwards to strike the sub-dial, creating the impression that the dragon’s head is advancing the day-night indicator one step forward.

Meanwhile, the dragon on the right is a decorative but functional element – it is actually a spring-loaded detent that holds the hour disc in place, and can observed moving for a split-second during the half-hour jumps.

The bottom half of the watch contains a steel bridge which represents the howdah, or carriage, found on the clock. The bridges reveals the retrograde mechanism driving the dragon automata.

Notably, the steel bridge is finished by hand, with anglage that boasts inward and outward angles at the corners – the roof of the carriage is particularly well done in that respect. Just below the carriage and the dragons is a hand-painted elephant, completing the theme of the Homage.

A closeup of the miniature painting (left) of the elephant and the steel howdah

The rear of the watch has a display back exposing the movement – the AJC-01, which is based on the ETA Unitas 6497/6498 that beats at 2.5 Hz and has a 40-hour power reserve.

Notably, the entire movement is covered by a full bridge that exposes only the balance wheel. This serves as a canvas for a hand-painted reproduction of a painting of the Elephant Clock found in the 12th century Book of Knowledge of Ingenious Mechanical Devices penned by Al-Jazari.

The movement with its full plate before painting

The movement plate with a miniature painting of the Elephant Clock

Key facts and price

Case diameter: 42 mm
Case height: 13.3 mm
Material: Stainless steel
Crystal: Sapphire
Water resistance: Unavailable

Movement: AJC-01
Features: 24-Hours and minutes
Frequency: 18,000 beats per hour (2.5 Hz)
Winding: Manual
Power reserve: 40 hours

Strap: Leather with pin buckle

Limited edition: 10 pieces
Availability: From Ben & Bros in Switzerland
Price: CHF49,000 before taxes

For more, visit John-mikael-flaux.com.