amerix
1537
You are entirely correct!
I was thinking mainly of the calendar. The word "genius" was a touch ironic, since I have seen it applied so many times to Oechslin. Not that he isn't, of course.
So here we have a genius of horological design collaborating with a genius of horological construction.
The chronograph function seen on the back of the MIH was an afterthought from Paul Gerber to utilize some extra space - he found it more fun than useful - but even he had to make alterations after the watch had gone into production with some examples returned. This has been documented. I remember seeing photos of the winding stem, I believe, that had been made too short or structurally weak. Again, the choice of materials may have played a role.
Even great ideas have to be tested after being put into practise - and that can take time. Marketing is often faster. There have been so many prototypes of radical designs, introduced in the press and at fairs, that have taken years before they found their way into production. And sometimes they didn't work (right) even then...
Cheers,
amerix
Ochs and Junior - any thoughts?
While I have not seen any of the models in person, I find these watches intriguing with their minimalist design and novel vision, especially in regards to re-engineering movements. They seem controversial in terms of finishing, at least from reading prior...
My thoughts
"Controversy" notwithstanding, I find myself very much attracted to this brand and its offerings. I wear my MIH watch often, and my son's watch is the Settimana Junior. The SJ is certainly more charming than the MIH. Both receive a lot of attention. I've ...
I appreciate the thoughts
Thank you for the commentary on MIH and your son's watch. That was the type of feedback I was hoping for. I am not really sure if their finishing detail has changed or not at this point, but I still find these models appealing. I am hoping that one of the...
I think the controversy has more to do...
with the price point for that finishing then the finishing itself. The style is pure and industrial and I can understand its charm. The finishing is about seeing the history of this refined piece of earth, witness of the sculpting of the forms. Not polish...
Well said
I don't disagree at all. Unfortunately, it's also hard for me to know how strongly to feel about it since I haven't seen one in person. In general, though, I would expect a relatively high finish level at some of the stated price points. With that said, t...
I can understand the price point for some...
When you have a movement made by Paul Gerber (and a terrific looking movement at that), as in the Anno Cinqua (sp?), then I can understand, and nearly justify the high price. But the other models make use of inexpensive ETA movements. Thus while I really ...
forgetting about finishing - for once!
The MIH required some extremey high-tech tolerances to get its handful of parts to actually work, that not even a Paul Gerber could make on his own for production - thanks to the genius of Ludwig Oechslin, who designs with zero tolerances - but includes t...
Are you sure about that?
"The MIH required some extremey high-tech tolerances to get its handful of parts to actually work, that not even a Paul Gerber could make on his own for production - thanks to the genius of Ludwig Oechslin…" With all due respect, it is my understanding th...
You are entirely correct!
I was thinking mainly of the calendar. The word "genius" was a touch ironic, since I have seen it applied so many times to Oechslin. Not that he isn't, of course. So here we have a genius of horological design collaborating with a genius of horological co...
Sure, I love the MIH
It is on my wrist as I type this, and it embodies pure honesty in a watch. But note also the wonderful price of it compared to the O&J pieces, which average about 5 times the cost, for complications that are much easier to execute with ETA movements. DJK
Tolerances
As far as I'm concerned, requiring high-tech tolerances that are beyond one of the world's great watchmakers is a major problem. I'm not sure if designing something that is almost impossible to implement is genius or not. Real genius might be designing it...
Exactly my opinion
and that of Philippe Dufour, Vianney Halter, Peter Speake-Marin, Jean-Baptiste Viot and several other Independents who favor "loose tolerances" for reliability, longevity, and ease of repair by any competent (!) watchmaker over the nano-meter technologies...
But isn't this the case will watches that do not run on stock movements?
I mean, you might have no problems with a Dufour to create spare parts some 100 years in the future, but what is with all those super-duper ultra-complicated (or at least crazy) watches that even some 'independents' create these days? Movements that make ...
i think, Magnus, that that...
i think, Magnus, that that is something we dont think about enough when it comes to movements. i would much prefer a movement based on something like a Valjoux or ETA so that pretty much anyone could service and repair it in the long distance future. my o...
Another Och's Semi-Follower
I too have bought into the OnJ philosophy, but as with Glickman's response above "only at the entry level". I absolutely adore my MIH which I happen to be wearing right now and would certainly entertain purchasing a "mese" or "anno" if it weren't for the ...
You may have that opportunity
Their blog inidcates that they working on a few variations of two of the models and they will be available at a lower price point, more in keeping with the MIH. I belive they will be 42mm with titanium cases. Overall, I find the company ethos and unique d...
i think that there are very few if any other watches that can match the MIH at its price
i am a big fan of Ludwig Oeschlin, i own a Freak, a Ludwig perpetual and an MIH, but i'm not particularly keen on the Ochs and Junior range. i dont particularly like the very difficult date display on the Annos 50 although i do quite like the industrial f...
Much Ado about Nothing........
Rather like the' Emperor's New Clothes', Och & Junior watches remind me of The Bricks controversy at the Tate Collection in London back in 1976. 'Equivalent VIII' by Carl Andre was bought by Tate Collection in 1972 and featured in special displays in 1974...
MTF; let's keep it short: The markup between production costs and retail price...
is much less with OuJ than with other manufactures. But if one needs this argument, one has understood nothing. I have said it often enought: there is a difference between top notch industrial execution and hiding all production traces behind the curtains...
Hey! But I am agreeing with you.......
Magnus, But, I did get the meaning! I'm in agreement with the owners' rights to choose. That is why I wrote: "...the luxury of being able to laud 'unfinished raw tool marks' as "Art" is one that must be paid for." and also: "........the owners of Och & Ju...