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Audemars Piguet

I'm reminded of Norman Podhoretz's opening line . . .

 

. . . from "Making It": "One of the longest journeys in the world is the journey from Brooklyn to Manhattan - or at least from certain neighborhoods in Brooklyn to certain parts of Manhattan."

Podhoretz isn't referring to the Montauk Highway, and moreover, the context is entirely different; still, there's an eery overlap in my mind with the watch under review.

The original Royal Oak is as close to a tabula rasa design as there is in watchmaking. It has a presence comparable to few others. It is not only immediately recognizable . . . for those of us who aren't steeped in the lore of Audemars Piguet, it is the essence of the brand.

It is said that variety is the spice of life. Does a seemingly endless supply of variety enhance or dilute the experience?

Many moons ago, pplater initiated a thread on Watch Rap centering on his inability to come to grips with the aesthetics of the ROO (as well as the PP Nautilus). My response was that both designs ran against the grain of natural aesthetics . . . they both tried to elicit a rounded effect from a nominally square form. The point I tried to make then was that appreciation of abstract aesthetic forms doesn't come naturally to some of us.

In order to better understand your perspective, Daos, can I ask if the basic form of the ROO is one that you find captivating? And if not, does the execution offered by the model under review alter your instinctive reaction?

Cordially, Art

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