Im Zürcher Oberland fräst Peter Cantieni zur Zeit die Gehäuse für die anno cinquanta. Ludwig Oechslin hat die Schale für unseren Jahreskalender zweiteilig gezeichnet.
Die Toleranzen von Paul Gerbers Werk und Peters Gehäuse sind so präzise aufeinander abgestimmt, dass wir auf einen sonst üblichen Werkhaltering verzichten können.
Oechslin fräst seine Prototypen immer im Maschinenfinish - das heisst die Verarbeitung ist sichtbar. Genau dies machen wir nun in der kleinen Serienfertigung der Weissgold-,
Rotgold- und... der Silbergehäuse... Maschinenfinish und die Kanten von Hand bearbeitet...
Up in the highlands of Zurich, Peter Cantieni is busy machining the cases for the anno cinquanta.
Ludwig Oechslin has designed a two-piece case for the annual calendar.
The tolerances of Paul Gerber’s movement and Peter’s cases match so precisely that we’re able to do without the usual movement retaining ring.
Oechslin always mills his prototypes so as to leave the machining marks visible. We’re now doing exactly that with our small series production of white gold, red gold and silver cases. They all bear the evidence of machining marks, and the flanges are hand-finished…
Up in the highlands of Zurich, Peter Cantieni is busy machining the cases for the anno cinquanta.
Ludwig Oechslin has designed a two-piece case for the annual calendar.
The tolerances of Paul Gerber’s movement and Peter’s cases match so precisely that we’re able to do without the usual movement retaining ring.
Oechslin always mills his prototypes so as to leave the machining marks visible. We’re now doing exactly that with our small series production of white gold, red gold and silver cases. They all bear the evidence of machining marks, and the flanges are hand-finished…