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Breitling SuperOcean Automatic 2022 42mm and 44mm Watch

Breitling’s new SuperOcean Automatic collection for 2022 is as vast and varied as the many seas and oceans of the world that they’re designed to dive in. There are 16 individual references in total, which is a lot but thankfully I only have two in front of me, which is much easier to review. Specifically, I have Breitling’s 2022 SuperOcean Automatic 42mm dark blue and 44mm turquoise.

When they first arrived at Oracle Time HQ, I was initially quite dismissive of them. I struggled to think of them as anything other than Breitling’s take on a Doxa, especially as bright colours are practically a Doxa signature these days. But having spent time with them, I can’t deny that they’ve grown on me.
The first aspect that started to win me over was their cases. Both versions here are stainless steel, although several of the 16 references are bronze or steel and gold bi-colour. To me, steel is the most natural material for a dive watch. It’s sporty without sacrificing on the satisfying heft of weight that more advanced materials like titanium lack. Plus, the durability means scratches are less of an issue than on a gold model. But the real killer aspect of the cases is the way they sit on the wrist. The 42mm is a dream and the 44mm (a size I usually wouldn’t consider) feels perfectly reasonable. That’s largely because their heights are such that they slip easily under a cuff, the 44mm is only 12.6mm high. The crown guards are shapely and satisfying rather than bulky. I’d still advise caution for the 46mm versions though, unless you’re built like a tank, because they have an additional bezel locking mechanism on the left of the case that makes the bigger diameter even more pronounced. But that’s not an issue with the two here. With the case starting to win me around, I took a moment to re-evaluate my thoughts on the dials. The 42mm has a deep blue colour for the central area and hour scale (which matches the colour of the ceramic inlay unidirectional rotating bezel) and a white minutes scale around the outside. The 44mm is slightly more complex as the centre portion and bezel aren’t colour matched, the dial being turquoise and the bezel black.The contrast between the minute scale and hour scale reminds me of the tachymeter on the recent Breitling Navitimer Chronograph Collection. However, the chunky baton indexes coated with SuperLuminova give the SuperOcean 42mm and 44mm strong retro dive watch aesthetics.

In fact, the display was inspired by a 1960s SuperOcean nicknamed the ‘Slow Motion’, a fact best seen in the modern watches’ square minutes hand. That hand is definitely the hardest part of the design to swallow – almost as if Breitling is trying too hard to create a “signature” hand design. But let’s be honest with ourselves, it’s no more outlandish than Tudor’s Snowflake or Rolex’s Mercedes hand. Unfortunately, the one element of the Breitling SuperOcean 42mm and Breitling SuperOcean Automatic 44mm that I find tricky to reconcile is the movement inside. It’s the Breitling Calibre 17, an automatic calibre based on the ETA 2824-2 with a 38-hour power reserve. In a microbrand dive watch I can take that, for Breitling it’s subpar. It also feels a tad lazy to use a single calibre for a collection of watches with such diverse case sizes from 36mm to 46mm, surely there were more options available at the larger sizes.
However, at the end of my time with these two watches, a single gripe about the movement is hardly the end of the world for a collection of watches I was ready to set aside and not look back. If I were to pick one up, it would be the 44mm turquoise, the colour is too good.

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Breitling Navitimer B01 Chronograph 43

It’s iconic. It’s complicated. It’s the Breitling Navitimer B01 Chronograph 43. Without a doubt, the Navitimer is Breitling’s flagship model. When you think of Breitling, an image of the circular slide rule bezel surrounding three subdials is the first thing likely to pop into your head.
My dad and I always talk about space and aviation. It’s been a staple topic of conversation since I was a little kid. Aerospace has been my dad’s passion since he was a child. Over many decades he’s passed that same interest on to me. Whenever I mention the Omega Speedmaster to him, my dad quickly reminds me (in the way dads do), “…you know? The Breitling Navitimer B01 Chronograph 43 is the real space watch.”
There is an element of truth in that statement. Dads are usually right and modern marketing is not always consistent with history. Omega wasn’t the first to market watches with astronauts just as the United States space program didn’t start with a Moon landing. A vintage Breitling advertising campaign depicts the (at the time) larger-than-life NASA Astronaut Scott Carpenter. Scott Carpenter famously wore the Breitling Cosmonaut-Navitimer (24hr dial) on the NASA mission Mercury-Atlas 7 (May 24th, 1962). This took place seven years before the Moon landing.

Throughout many iterations since its commercial release in 1952, the Breitling Navitimer continues to retain most of its original design and functional elements. Is there a modern place for yesterday’s analog pilot’s tool in today’s upscale modern life? As a fashion item, sure, but what about as a useful tool? To assess the Navitimer B01 we will look at the watch with a critical eye, but we will also provide instructions for operating the watch’s slide rule bezel in order to focus on its often overlooked functionality as a tool.
The Navitimer that Breitling lent me for review came on a black calfskin leather strap with a tang-type buckle. The leather strap felt substantial between the Navitimer’s 22mm wide lugs. Breitling wisely chose a thick leather to back up the proportions of the 43mm Navitimer. The calfskin strap tapered from 22mm to 18mm at the buckle and was slightly padded. In the interest of full disclosure, I swapped the Breitling strap for a Barton Silicone Elite because I don’t care for leather. That is just a personal preference and does not take away from the high-quality Breitling Navitimer B01 Chronograph 43 leather strap. With the five options listed above, you can find something you’ll like, for sure.

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Breitling Super Chronomat B01 44 AB0136A71A1S1

Your Breitling chronometer is a sophisticated instrument that is constantly subjected to a wide variety of stresses and strains. Within a very small volume, a large number of components contribute to handling all the functions. Their mechanical action inevitably leads to a certain amount of wear and tear, which may be controlled by maintenance consisting of relubrication and replacing worn components. Like any precision measurement instrument, your watch must be regularly maintained in order to function at its highest level of potential: the frequency of this operation varies according to actual use. Breitling or your authorized retailer will be happy to handle the procedure.

The movement of your chronometer is protected by a complex case fi tted with gaskets to ensure its water resistance. Under the infl uence of various external agents – perspiration, chlorinated or saltwater, cosmetics, fragrances, or dust – these gaskets gradually deteriorate. That is why water resistance cannot be permanently guaranteed. If used intensively in water, we recommend having an
annual water-resistance check conducted. In any event, such an appraisal must be done every two years. This operation, which takes only a few minutes may be conducted by a Breitling authorized maintenance center, or by an authorized retailer (www.breitling.com).

Breitling Super Chronomat B01 44 AB0136A71A1S1 models are water-resistant to varying degrees. The extent of the water resistance, expressed in meters (M), is a standard value and does not indicate an absolute immersion depth. The crown and push-pieces must not under any circumstances be operated underwater or when the watch is wet. The table below indicates the conditions in which your watch may reasonably be used, according to its degree of water resistance:

Breitling Super Chronomat B01 44 AB0136A71A1S1 genuine leather straps are crafted with the most refi ned materials and represent extremely high-quality products. Like all objects in natural skin (shoes, gloves, etc.), their length of life varies considerably, according to the conditions in which they are worn. ln particular, water, cosmetics, and perspiration accelerate the aging process. A metal or synthetic Breitling bracelet is thus better suited to activities involving frequent contact with water or moisture.

Breitling metal cases and bracelets are made from fi nest alloys and guarantee sturdiness and wearer comfort. Regular cleaning by
rinsing and brushing in clean water will keep your watch shiny. This operation is strongly recommended after each immersion in salty
or chlorinated water. For watches fi tted with a leather strap, the same advice applies, as well as avoiding getting the strap wet.

Like any valuable objects, Breitling Super Chronomat B01 44 AB0136A71A1S1 deserve special care. It is important to protect them from jarring and knocks by hard objects, and not to expose them to chemical products, solvents, dangerous gases, or magnetic fi eds. Moreover, your Breitling chronometer is designed to run smoothly at temperatures ranging between 0°C and 50°C.

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Urwerk UR-111C Gunmetal

Since its inception, Urwerk has always been about pushing the boundaries of what a mechanical watch can be. Founders Martin Frei and Felix Baumgartner continue to innovate in terms of both design and mechanics, while always using their solid watchmaking foundation to ground their work in the history of horology. Their latest creation, the Urwerk UR-111C Gunmetal uses a totally new kind of time display that’s a bit of a departure from the orbital satellite system that the brand is best known for. And it’s a doozy. On the “front” there are two conical displays – jumping hours on the left and running minutes on the right – and a unique helix-shaped minutes indicator in the center that also has a retrograde function. As if that wasn’t enough, there’s also a jumping digital seconds display on the top of the watch that uses an array of optical fibers to project the numbers up toward the sapphire crystal window. Like I said, it’s a doozy.

In addition to the new ways of showing the time, Urwerk UR-111C Gunmetal wanted to give wearers a new way to interface with the watch. You’ll notice that there’s no traditional crown to speak of. Instead, there are a pair of mechanisms for winding the setting the watch. For the former, you use the cylindrical roller that’s set into the top of the case, just below that jumping seconds display. Now, to set the watch, there’s a lever that pops out of the right side of the case that can then be used to turn things forward or backward. This is definitely a watch that’s all about doing things differently and if you’re looking for something genuinely unique, the Urwerk UR-111C Gunmetal looks like a heck of an interesting option.

Urwerk’s watches are tough to appreciate without seeing them in the metal, but even from the images here and the brief descriptions Urwerk sent over, I’m really impressed here. This watch is completely excessive in its pursuit of doing things in different, surprising ways, and the various indicators are constructed to an extremely high level, in terms of both precision and craftsmanship.

While I’m not at all shy about saying that a watch like this probably won’t be making its way onto my wrist in real life any time soon, I’ll also say I’m very excited to see this one in the metal. What Urwerk does stands on its own merits, and I think you’d be hard-pressed to find many watch nerds who don’t at least appreciate what the brand is doing from a conceptual standpoint. Watches like the Urwerk UR-111C Gunmetal make us question what we think we already know about mechanical watchmaking, force us to interact with them in new ways, and challenge us to be open to new interpretations of traditional horology. I’m always up for that.

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Urwerk UR-111C Iron

As part of the brand’s ‘Special Projects’ line, the UR-111C is Urwerk at its best, a mature watch that soars with mechanical ingenuity and a design ethos straight out of Blade Runner. Although it does not bear the hallmark satellite hour hands we have come to associate with the brand, the Urwerk UR-111C Iron is packed with imaginative displays (jumping hours, linear retrograde minutes, optical fibre-augmented seconds) and a look and feel that is 100% Urwerk.

Alternative ways of displaying time via satellite hours on board futuristic vessels are the bread and butter of Urwerk. So when the brand unveiled its latest opus, the UR-111C, without its signature satellite hour complication, everybody’s ears pricked up. The UR-111C is a fascinating machine and draws on inspiration from the former King Cobra model. Presenting time in multiple formats (linear and digital) located in different portholes on the case, the other surprising feature of this watch is the new interface. Dispensing with a conventional crown, Urwerk has incorporated a novel roller in the centre of the case with an extractable lever to set the time.

First presented by Brice when it made its debut in September 2018, we’ve now had the opportunity of handling the Urwerk UR-111C Iron and getting a feel for its personality and presence. Like all Urwerk watches, a brief introductory course on how to read the time is useful along with a certain open-mindedness and willingness to be transported into another dimension of horology. The new UR-111C shares some traits of the UR-CC1 King Cobra another dissident model that departed from the wandering hours formula by incorporating linear and retrograde indications. Like the King Cobra, the UR-111C displays the hours and minutes in a linear driver’s-style display at the front of the watch, but that’s about where the similarities end.

Like a driver’s watch, the display of the Urwerk UR-111C Iron is designed to let you consult the time without having to lift your hands off the steering wheel or flight controls. A gentle pivot of the wrist and the time is revealed in the three rounded sapphire crystal glass compartments located just above the lugs at the bottom of the case. Jumping hours are read on the left side of the dashboard thanks to a rotating cone that performs a brisk jump on the hour.

The real show-stopper, occupying most of the allotted space in the central window, is the linear representation of minutes placed along a diagonal track and read by a rotating helix with a thick yellow marker. The barrel with the minute markers is fixed and has a diagonal slash in its middle to reveal the position of the slanted yellow marker and indicate the minutes. Behind the minute barrel is another, larger barrel decorated with dynamic cut-out vents to reveal parts of the coiled spring lurking below deck. Thanks to the coiled spring, the drum with the yellow marker twists its way up the minute track and, upon reaching the red 60-minute marker, performs a larger, instantaneous jump back to zero forcing the hours to jump ahead. The cone on the right is not for the seconds but instead repeats the minute readings in a rotating display, providing the watch with two very different formats to consult the minutes. Of no real practical value, the second rotating minutes display is really there to provide visual balance. I did find, however, that the metallic markings on the inside of the conical sapphire crystal reflected a lot of light and at times it was not easy to see the hours or minutes.

The seconds are given their very own cabin on board the Urwerk UR-111C Iron and are located underneath a large sapphire glass aperture towards the top end of the case, bolted down with four screws – in keeping with the industrial design ethos of Urwerk. Reminiscent of the window on those front-loading cassette recorders of yesterday, the round digital seconds counter below seems to float very near the surface. For a more detailed explanation of the miniature mechanics involved here, Brice’s article elucidates it all.

Composed of two separate wheels with odd and even numbers, the fun thing here is the way the digits seem to push up against the glass, as if they were located closer to the surface than they actually are. Instead of a conventional Cyclops lens, Urwerk has performed a world first in watchmaking by using optical fibres (an image conduit) positioned 1/10th of a millimetre above the numerals to create the illusion of proximity, while in reality the numbers are ensconced far below. Although it takes a bit of adaptation to get used to reading the different time formats, you can’t complain about a boring, conventional display!

Compared to the King Cobra, the case construction of the UR-111C is far more sophisticated and aerodynamic. The conspicuous curvature of the case follows the contours of the wrist beautifully. Although many might balk at the dimensions of Urwerk’s wrist machines, the UR-111C is perhaps the most wearable model to date. Crafted in two different finishes of stainless steel – one in polished steel that gleams like a Greyhound bus from the 1950s, the other in a darker gunmetal steel – the case is 46mm long, 42mm wide and 15mm in height at the thickest point. (As a point of reference, the Apple Watch Series 4 is now available in a 44mm length.) Not demure statistics by any stretch of the imagination, but the curvature of the case, the sleek cambered design and pliant front lug go a long way in mitigating its bulk.

The model we had in for review was the gunmetal steel version with an inviting sandblasted matte finish that feels great to the touch. Once again, you can feel designer Martin Frei’s elegant geometric minimalism at work here. Along the lines of the American Streamline Moderne (aka ‘Art Deco on the Move’) school of the late 1930’s, characterised by sleek, aerodynamic lines emulating the profiles of trains, ocean liners, aeroplanes and cars, the case of the UR-111C features vertical speed lines on the breastplate and curvaceous indentations that bring a highly streamlined and tactile appeal to the watch.

Traversing the centre of the case is a cylindrical roller etched with deep grooves to match the rest of the decoration.  Instead of a conventional crown perched on the top of the case, Martin Frei and Felix Baumgartner wanted to create a new way for the wearer to interact with the watch and came up with the idea of creating a roller to wind the watch. The sensation of rolling the fluted cylinder is extremely satisfying and, like any conventional crown will stop when the watch is fully wound. In addition to respecting the streamlined dynamics of the case – not interrupted by a hulking crown – this original approach to reinventing the crown and engage the wearer is, in my eyes, one of the triumphs of this watch. Another neat little device is the time-setting lever ensconced on the right side of the case. By extracting the lever you can roll the roller to set the time. Because of its unique architecture, the movement has to be slotted in from the side of the case. The caseback is decorated with parallel vertical grilles that continue the theme of the front side of the case. Unfortunately, the mechanics are not revealed on the reverse side but the automatic movement powering the jumping hours, retrograde linear minutes, digital minutes and seconds has a 48h power reserve and a 4 Hz (28,800 vph) frequency, and has been decorated with circular graining, Geneva stripes and features polished screw heads.

Rest assured that although the brand’s signature wandering hour display has been jettisoned in favour of other formats, this watch is Urwerk to the core. Sleek, streamlined and flight-ready, the matte gunmetal finish of the model gives the watch a stealth/industrial/Sci-Fi look that is also extremely seductive to the touch. Despite its dimensions and commanding personality, the UR-111C is much more compact than other Urwerk watches and its curved case makes it altogether wearable, even on small wrists of 17cm (as photographed). Although some of the information relayed (two separate minute registers) might not be vital, and for some even superfluous, it animates the watch no end. The original reinterpretation of the crown with the central roller is what fascinated us most about this watch and the way it invites a higher level of interaction between man and machine.

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Urwerk UR-111C Black Cobra

The 2018 launch of Urwerk’s UR-111C generated quite a bit of buzz among the watch community. A dissident from the signature wandering hours complication, the UR-111C flaunted jumping hours, linear retrograde minutes, a novel roller crown, and optical fibre-augmented seconds all the while remaining faithful to Urwerk’s Sci-Fi design ethos. Making its debut in two case materials – matte gunmetal steel and a polished and brushed steel version – Urwerk welcomed a third UR-111C to the club during Baselworld 2019 with this sleek, stealth Black Cobra version. As a descendant of the UR-CC1 King Cobra, the name of this new red and black model is a direct tribute to its ancestor.

The case of the Black Cobra is made from black-coated steel and titanium with smooth sandblasted and satin-finished surfaces and shares exactly the same dimensions as its brothers: a case length of 46mm, a width of 42mm, and a height of 15mm at the thickest point. Not a small watch by any stretch of the imagination, but honestly, would anybody investing in a Urwerk watch want something demure and low-key? However, the matte black case does make the dimensions seem smaller. Coupled with the sleek cambered design and fluid curvature of the case, the watch sits high but very comfortably on the wrist.

The vertical grooves on the top part of the case reference the American Streamline Moderne movement of the late 1930s characterised by aerodynamic lines (just think Greyhound buses) to accentuate the idea of speed. Towards the rear end of the case and smack in the centre is the novel cylindrical roller, also etched with deep grooves, which replaces the crown. The idea was to offer owners a new interface and a new way to interact with the watch; by rolling the roller (sorry), the watch is wound. To set the time, a small lever tucked into the right side of the case can be extracted switching the roller to time-setting mode.

Obviously, the layout of the UR-111C Black Cobra has not altered and the hours and minutes are still displayed in three curved sapphire crystal compartments at the front of the watch. The jumping hours are on the left side of the dashboard, the large window in the centre showcases the retrograde minutes, and the window on the right repeats the minute readings in a rotating display. So far, no changes. The main design update is the new colour scheme used to highlight the numerals of all three displays. Instead of using white numbers, the Black Cobra incorporates bright red ones and has substituted the original red 60-minute marker for a yellow one. The idea behind this slanting time display is taken from the 2009 King Cobra, a drivers style display allowing you to consult the time without having to twist your wrist.

Moving up to the aperture above the roller, we can also see a similar colour scheme on board the seconds cabin. Urwerk has used optical fibres, positioned 1/10th of a millimetre above the seconds numerals to create the illusion of proximity. Thanks to this optical illusion, the magnified digits appear to graze up against the glass. In a similar fashion to the hours and minutes, the former white seconds have been replaced with bright red numerals and the 60th second is now picked out in yellow. These might seem like tiny design upgrades but when combined with the black case, the watch takes on a darker, more stealth personality.

To animate the impressive displays on board the UR-111C, co-founder and master watchmaker Felix Baumgartner had to come up with a pretty impressive movement. The unprecedented construction of the movement meant that the case had to be built around the movement. What’s more, the unusual shape of the movement also meant that it could not be cased up in the normal way and had to be introduced through the side of the case. The caseback is decorated with parallel vertical grilles that continue the theme of the front side of the case. Unfortunately, the mechanics are not revealed on the reverse side but the automatic movement powering the jumping hours, retrograde linear minutes, digital minutes and seconds has a 48h power reserve and a 4 Hz (28,800vph) frequency, and has been decorated with circular graining, Geneva stripes and features polished screw heads.

This third take on the UR-111C is more enigmatic, darker, racier and oddly enough generates more impact than its steel counterparts. The substitution of white for red numerals and the sleek black case adds a cool retro touch. Does it remind any of you of the flashing red grille on KITT, the Knight Rider’s car? And I don’t mean this disparagingly. Back then, it was the height of cool.

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Urwerk UR-111C TT

As part of the brand’s ‘Special Projects’ line, the UR-111C is Urwerk at its best, a mature watch that soars with mechanical ingenuity and a design ethos straight out of Blade Runner. Although it does not bear the hallmark satellite hour hands we have come to associate with the brand, the Urwerk UR-111C TT is packed with imaginative displays (jumping hours, linear retrograde minutes, optical fibre-augmented seconds) and a look and feel that is 100% Urwerk.  Alternative ways of displaying time via satellite hours on board futuristic vessels are the bread and butter of Urwerk. So when the brand unveiled its latest opus, the UR-111C, without its signature satellite hour complication, everybody’s ears pricked up. The UR-111C is a fascinating machine and draws on inspiration from the former King Cobra model. Presenting time in multiple formats (linear and digital) located in different portholes on the case, the other surprising feature of this watch is the new interface. Dispensing with a conventional crown, Urwerk has incorporated a novel roller in the centre of the case with an extractable lever to set the time.

First presented by Brice when it made its debut in September 2018, we’ve now had the opportunity of handling the Urwerk UR-111C TT and getting a feel for its personality and presence. Like all Urwerk watches, a brief introductory course on how to read the time is useful along with a certain open-mindedness and willingness to be transported into another dimension of horology. The new UR-111C shares some traits of the UR-CC1 King Cobra another dissident model that departed from the wandering hours formula by incorporating linear and retrograde indications. Like the King Cobra, the UR-111C displays the hours and minutes in a linear driver’s-style display at the front of the watch, but that’s about where the similarities end. Like a driver’s watch, the display of the UR-111C is designed to let you consult the time without having to lift your hands off the steering wheel or flight controls. A gentle pivot of the wrist and the time is revealed in the three rounded sapphire crystal glass compartments located just above the lugs at the bottom of the case. Jumping hours are read on the left side of the dashboard thanks to a rotating cone that performs a brisk jump on the hour.

The real show-stopper, occupying most of the allotted space in the central window, is the linear representation of minutes placed along a diagonal track and read by a rotating helix with a thick yellow marker. The barrel with the minute markers is fixed and has a diagonal slash in its middle to reveal the position of the slanted yellow marker and indicate the minutes. Behind the minute barrel is another, larger barrel decorated with dynamic cut-out vents to reveal parts of the coiled spring lurking below deck. Thanks to the coiled spring, the drum with the yellow marker twists its way up the minute track and, upon reaching the red 60-minute marker, performs a larger, instantaneous jump back to zero forcing the hours to jump ahead. The cone on the right is not for the seconds but instead repeats the minute readings in a rotating display, providing the watch with two very different formats to consult the minutes. Of no real practical value, the second rotating minutes display is really there to provide visual balance. I did find, however, that the metallic markings on the inside of the conical sapphire crystal reflected a lot of light and at times it was not easy to see the hours or minutes.

The seconds are given their very own cabin on board the UR-111C and are located underneath a large sapphire glass aperture towards the top end of the case, bolted down with four screws – in keeping with the industrial design ethos of Urwerk. Reminiscent of the window on those front-loading cassette recorders of yesterday, the round digital seconds counter below seems to float very near the surface. For a more detailed explanation of the miniature mechanics involved here, Brice’s article elucidates it all. Composed of two separate wheels with odd and even numbers, the fun thing here is the way the digits seem to push up against the glass, as if they were located closer to the surface than they actually are. Instead of a conventional Cyclops lens, Urwerk has performed a world first in watchmaking by using optical fibres (an image conduit) positioned 1/10th of a millimetre above the numerals to create the illusion of proximity, while in reality the numbers are ensconced far below. Although it takes a bit of adaptation to get used to reading the different time formats, you can’t complain about a boring, conventional display!

Compared to the King Cobra, the case construction of the Urwerk UR-111C TT is far more sophisticated and aerodynamic. The conspicuous curvature of the case follows the contours of the wrist beautifully. Although many might balk at the dimensions of Urwerk’s wrist machines, the UR-111C is perhaps the most wearable model to date. Crafted in two different finishes of stainless steel – one in polished steel that gleams like a Greyhound bus from the 1950s, the other in a darker gunmetal steel – the case is 46mm long, 42mm wide and 15mm in height at the thickest point. (As a point of reference, the Apple Watch Series 4 is now available in a 44mm length.) Not demure statistics by any stretch of the imagination, but the curvature of the case, the sleek cambered design and pliant front lug go a long way in mitigating its bulk. The model we had in for review was the gunmetal steel version with an inviting sandblasted matte finish that feels great to the touch. Once again, you can feel designer Martin Frei’s elegant geometric minimalism at work here. Along the lines of the American Streamline Moderne (aka ‘Art Deco on the Move’) school of the late 1930’s, characterised by sleek, aerodynamic lines emulating the profiles of trains, ocean liners, aeroplanes and cars, the case of the UR-111C features vertical speed lines on the breastplate and curvaceous indentations that bring a highly streamlined and tactile appeal to the watch.

Traversing the centre of the case is a cylindrical roller etched with deep grooves to match the rest of the decoration.  Instead of a conventional crown perched on the top of the case, Martin Frei and Felix Baumgartner wanted to create a new way for the wearer to interact with the watch and came up with the idea of creating a roller to wind the watch. The sensation of rolling the fluted cylinder is extremely satisfying and, like any conventional crown will stop when the watch is fully wound. In addition to respecting the streamlined dynamics of the case – not interrupted by a hulking crown – this original approach to reinventing the crown and engage the wearer is, in my eyes, one of the triumphs of this watch. Another neat little device is the time-setting lever ensconced on the right side of the case. By extracting the lever you can roll the roller to set the time.

Because of its unique architecture, the movement has to be slotted in from the side of the case. The caseback is decorated with parallel vertical grilles that continue the theme of the front side of the case. Unfortunately, the mechanics are not revealed on the reverse side but the automatic movement powering the jumping hours, retrograde linear minutes, digital minutes and seconds has a 48h power reserve and a 4 Hz (28,800 vph) frequency, and has been decorated with circular graining, Geneva stripes and features polished screw heads.

Rest assured that although the brand’s signature wandering hour display has been jettisoned in favour of other formats, this watch is Urwerk to the core. Sleek, streamlined and flight-ready, the matte gunmetal finish of the model gives the watch a stealth/industrial/Sci-Fi look that is also extremely seductive to the touch. Despite its dimensions and commanding personality, the Urwerk UR-111C TT is much more compact than other Urwerk watches and its curved case makes it altogether wearable, even on small wrists of 17cm (as photographed). Although some of the information relayed (two separate minute registers) might not be vital, and for some even superfluous, it animates the watch no end. The original reinterpretation of the crown with the central roller is what fascinated us most about this watch and the way it invites a higher level of interaction between man and machine.

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Urwerk EMC Time Hunter Desert Sage

URWERK’s EMC Time Hunter, the world’s first watch that lets you adjust the precision and gauge the amplitude of the balance, is decked out in military gear and primed for action. Tougher than ever, the new EMC Time Hunter Desert Sage features a ceramic-type lacquer treatment on the case resulting in a matte beige surface complete with a gritty sandblasted finish. Combined with the black grenade dial and military camouflage strap, this watch would have looked the part during Operation Desert Storm. Let’s get to know more about URWERK’s latest take on the Urwerk EMC Time Hunter Desert Sage.
Urwerk is renowned for its out-of-this-world approach to watchmaking. Looking at URWERK’S watches means abandoning all concepts of conventional watchmaking. From the futuristic cases to the creative ways of displaying time, designer Martin Frei and master watchmaker Felix Baumgartner were convinced there had to be another way of presenting time and, since 1995, embarked on their 21st-century watchmaking odyssey.
This year alone we’ve seen the UR-100 Space Time with its rotating satellites, the UR-111C with its linear time display and the Final Edition of the iconic UR-210. As fascinating as these watches are, with their unconventional way of displaying the time, they cannot be compared to the Urwerk EMC Time Hunter Desert Sage. With an innovative hybrid movement mixing a manual-winding mechanical heart and an electro-optical circuit with its own power source, the EMC Time Hunter is a unique, interactive watch that lets its wearer manually adjust the rate of the balance wheel.
In May 2013, Frank wrote an article about URWERK’s ‘concept’ movement that would allow users to measure the running rate of the watch and adjust it to optimal precision. Known as Electro-Mechanical Control (EMC), Felix Baumgartner’s brainwave was to create a hybrid movement with mechanical and electronic parts. An optical sensor placed on top of the balance wheel (made of non-magnetic ARCAP) times the oscillations for three seconds to calculate an average rate. The optical sensor is connected to an integrated circuit board (the electronic part of the EMC), which in turn calculates the minuscule differences in the semi-oscillations and translates them into loss/gain of seconds per day. The really fun part of the whole set-up is the independent generator feeding the micro-circuit. Instead of using a battery, the power is supplied by a hand-turned Maxon generator, a retractable lever that is cranked, like an old car. The processor, which operates at a hyper-precision frequency of 16 MHz and serves as a reference oscillator (benchmark) can compare the amplitude and rate deviation readings of the balance and communicate them to the counter on the dial.
The idea behind Baumgartner’s invention was to provide the owner of the watch with information that in normal conditions, only a watchmaker can visualise. He wanted to create “a precision timepiece with a system whereby the owner can accurately calculate the timing rate of the movement so that it can be finely adjusted to the owner’s lifestyle and habits”. Just three months after Frank’s coverage of the EMC, the concept was integrated into a watch designed by Martin Frei, a formidable 51mm x 43mm titanium case with several portholes on the hood displaying the time and the all-important precision/amplitude gauge. In 2016, Brice reviewed the refreshed version of the EMC Time Hunter with a different layout and even a skeletonised version of the watch known as the EMC Time Hunter X-Ray. The latest Time Hunter Desert Sage model has exactly the same layout, movement and size as these 2016 models but features a new sandy beige sandblasted case.
The Urwerk EMC Time Hunter Desert Sage proportions of the watch are XXL: 43mm wide x 51mm length x 15.8mm thick. In short, you’re looking at a mini tank on the wrist, but that is very much a part of its instrument-watch identity. After all, it was conceived as a dual measuring instrument; one instrument to read the hours, minutes and seconds and another instrument to adjust the precision and gauge the amplitude of the balance.
The shape of the case is vaguely rectangular with sloping edges that curve down to shield the movement. The ‘shield’ or hood is made from stainless steel which is micro-beadblasted and then given a hard, matte ceramic lacquer-type treatment. The result is a very cool grainy beige surface that doesn’t reflect the light and is easy to grip, very much in the spirit of military equipment. The black handle on the right side of the case is the retractable crank to manually power up the monitoring unit (optical sensor and computer) and, as in previous editions, is made by the Swiss company Maxon, which also develops motors for NASA’s Mars rovers. The black button on the left side of the case is used in conjunction with the crank and the crown to wind the movement is positioned at 6 o’clock.
The Urwerk EMC Time Hunter Desert Sage dial is also matte black and, like the case, has an amorphous shape, which could be described as a sort of rounded hexagon with an indented area on the left side? The hours and minutes counter occupies most of the central space and has a chequered hand grenade background and four large luminous Arabic numbers at 12, 3, 6 and 9 o’clock and a bold white minutes track. There are two unusual markings on the black grenade background; a δ just to the right of 9 o’clock, and a P under 12 o’clock (explained below).
The arrow-tipped hands are outlined in white lume, ensuring legibility in any light conditions. The seconds are relayed in an arched aperture in the top right-hand corner, picked out in green lume and indicated with a red arrow. Diagonally across from the seconds is another semi-circular counter for the power reserve indicator, also indicated by an arrow-tipped hand with white lume signalling how much juice is left in the 80-hour tank. Unlike earlier models, URWERK has printed the three additional indications in white on the black screwed bezel: Seconds, Power and EM-Control.
The main attraction of this watch is tucked in the upper left segment of the watch and looks a bit like a speedometer with an arched track corresponding to the Precision rating of the watch running from -15 to 15, and the Amplitude rating ranging from 180 to 330 degrees. The numerals are painted with fluorescent green Super-LumiNova except for the ‘danger zone’ numerals in red at -15, +15 for the Precision and 180 for the amplitude. As you can see, it is a technical watch that will appeal to the watch geek in many of you and that fits URWERK’s philosophy of interaction to a tee.

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Urwerk UR-220 C81 “Falcon Project”

Over the summer, the watchmaking duo of Martin Frei and Felix Baumgartner presented what was to be the final edition of Urwerk’s UR-210 watch, a classic of contemporary independent watch design that had become, since it launched in 2012, the reference I most associated with their company. Recently, they’ve announced the followup to the UR-210 in the form of the new UR-220, codenamed the “Falcon Project.” Besides being quite a cool looking watch, the UR-220 introduces some new features, includes the return of others, and offers a glimpse into the next chapter of the UR-200 series.
On the materials front, the Urwerk UR-220 C81 “Falcon Project” case comes in the form of 81 ultra-thin layers of high-resistance 150g CTP carbon that has been compressed into a hard resin. If you look closely at the sloping top of the case, the fact that it’s made of many layers is apparent. (CTP stands for Carbon Thin Ply; we’ve seen the material also used in the Bulgari Octo Finissimo Minute Repeater). The UR-220 strap is made of rubber, a first for Urwerk. But it’s not just any rubber strap. For its first rubber strap, Urwerk has used what it refers to as the Vulcarboné process, which Urwerk says give it a touch like velvet.
Most obviously, the UR-220 uses the familiar system of planetary, or wandering, hours. However, unlike in the UR-210 models, the movement here is manually wound, not automatic.

It’s this signature, three-armed display that most of us tend to associate with Urwerk. The hours are displayed on three blocks that are connected to the three arms. The display portion comprises a 120-degree arc along which the arms pass, picking up the retrograde minutes, which snap back on the hour, as they go. The display can seem a bit elaborate at first, but it’s actually very intuitive. And thanks to the high level of contrast between the green numbers and minute track and the black architecture of the carousel, it’s quite legible too.

Each rotating arm has a block with four of its sides bearing numbers that correspond to the hours. The only other dial-side display is the power-reserve indicator, or indicators, I should say. There are two them, tucked in the upper left and upper right corners of the display, respectively. Each of them tracks consecutive 24-hour periods, so that when the first is filled or emptied, the second takes over, for a total power reserve of 48 hours. Splitting the power reserve between two displays was no simple feat: It required some 83 additional parts.
On the back of the Urwerk UR-220 C81 “Falcon Project”, we see the return of the oil change indicator, a display that was long seen in Urwerk’s UR-110 models. In its UR-220 guise, the indicator sees some enhancements. When the owner takes possession of a new UR-220, he or she will notice a pin on the back of the watch. Pulling the pin causes the oil change indicator to start counting the months of the watch’s active running time. After 39 months, the UR-220 should be sent in for service, after which Urwerk’s watchmakers reset the indicator to zero and reinstall the pin, allowing the process to be repeated.
Looking at the UR-220, one can see a strong resemblance to the recently retired UR-210. The CTP carbon case – the first of its kind for Urwerk – the use of a manual-wind movement, and titanium caseback make the UR-220 a lightweight watch, and a relatively sleek one by Urwerk standards. The new case material also gives the UR-220 a wonderfully textured look. I think it’s a great look, but I was so surprised that Urwerk hadn’t made a carbon case before that I double-checked this with the company’s U.S. office. The rubber strap, which has a great textured/layered look that works perfectly with the case, is another surprising first.
But for me, the oil change indicator with removable pin is maybe the coolest element of the new UR-220. It’s thoughtful creations like this, which can be found throughout Urwerk’s watches, that I think are most attractive to our “teenage brain,” that part of us that will happily construct a Rube Goldberg machine to be amused or enchanted.

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Urwerk UR-220 All Black “Falcon Project”

Over the summer, the watchmaking duo of Martin Frei and Felix Baumgartner presented what was to be the final edition of Urwerk’s UR-210 watch, a classic of contemporary independent watch design that had become, since it launched in 2012, the reference I most associated with their company. Recently, they’ve announced the followup to the UR-210 in the form of the new UR-220, codenamed the “Falcon Project.” Besides being quite a cool looking watch, the UR-220 introduces some new features, includes the return of others, and offers a glimpse into the next chapter of the UR-200 series.
On the materials front, the UR-220 case comes in the form of 81 ultra-thin layers of high-resistance 150g CTP carbon that has been compressed into a hard resin. If you look closely at the sloping top of the case, the fact that it’s made of many layers is apparent. (CTP stands for Carbon Thin Ply; we’ve seen the material also used in the Bulgari Octo Finissimo Minute Repeater). The UR-220 strap is made of rubber, a first for Urwerk. But it’s not just any rubber strap. For its first rubber strap, Urwerk has used what it refers to as the Vulcarboné process, which Urwerk says give it a touch like velvet.
Most obviously, the UR-220 uses the familiar system of planetary, or wandering, hours. However, unlike in the UR-210 models, the movement here is manually wound, not automatic.

It’s this signature, three-armed display that most of us tend to associate with Urwerk. The hours are displayed on three blocks that are connected to the three arms. The display portion comprises a 120-degree arc along which the arms pass, picking up the retrograde minutes, which snap back on the hour, as they go. The display can seem a bit elaborate at first, but it’s actually very intuitive. And thanks to the high level of contrast between the green numbers and minute track and the black architecture of the carousel, it’s quite legible too.
Each rotating arm has a block with four of its sides bearing numbers that correspond to the hours. The only other dial-side display is the power-reserve indicator, or indicators, I should say. There are two them, tucked in the upper left and upper right corners of the display, respectively. Each of them tracks consecutive 24-hour periods, so that when the first is filled or emptied, the second takes over, for a total power reserve of 48 hours. Splitting the power reserve between two displays was no simple feat: It required some 83 additional parts.
On the back of the Urwerk’s UR-210 watch, we see the return of the oil change indicator, a display that was long seen in Urwerk’s UR-110 models. In its UR-220 guise, the indicator sees some enhancements. When the owner takes possession of a new Urwerk’s UR-210 watch, he or she will notice a pin on the back of the watch. Pulling the pin causes the oil change indicator to start counting the months of the watch’s active running time. After 39 months, the UR-220 should be sent in for service, after which Urwerk’s watchmakers reset the indicator to zero and reinstall the pin, allowing the process to be repeated.
Looking at the UR-220, one can see a strong resemblance to the recently retired UR-210. The CTP carbon case – the first of its kind for Urwerk – the use of a manual-wind movement, and titanium caseback make the UR-220 a lightweight watch, and a relatively sleek one by Urwerk standards. The new case material also gives the UR-220 a wonderfully textured look. I think it’s a great look, but I was so surprised that Urwerk hadn’t made a carbon case before that I double-checked this with the company’s U.S. office. The rubber strap, which has a great textured/layered look that works perfectly with the case, is another surprising first.
But for me, the oil change indicator with removable pin is maybe the coolest element of the new UR-220. It’s thoughtful creations like this, which can be found throughout Urwerk’s watches, that I think are most attractive to our “teenage brain,” that part of us that will happily construct a Rube Goldberg machine to be amused or enchanted.