MB&F's Horological Machine No.1- From Sketch to Machine

From Sketch to Machine - The Storyboard of a Passion

Tracing the Route of HM1 from Pad to Wrist

Starting from a blank sheet of paper is perhaps the most difficult exercise in creation. There is no brand DNA to inspire, nor existing product lines to provide stylistic elements.

«The first sketches were made in 2003 on a flight back from Singapore. From the start, an architectural outline took shape, looking a little like an inverted pyramid. The watch had to be both easy to wear on a slender wrist (like mine), and be big enough to accommodate complex and reliable new technology.» Maximilian Büsser

The very first sketches (above left) that launched MB&F and became Horological Machine No.1, converted to the first CAD drawings (right). Notice the retrograde indications on the sketches and the absence of a tourbillon.

On a long flight home from Asia a few years ago, Maximilian Büsser had such a blank sheet of paper . . . but he also had an idea for a new wristwatch.

He drew two overlapping circles; the first to be an area for a consistent brand identity, while the second was to be a playground where an independent watchmaker could let fly his imagination.

The first flat sketches quickly took on a three-dimensional element that defined an other-world machine-like structure with inwardly sloping sides.

While the design was bold, Büsser demanded a form and size which would be comfortable to wear on slim wrists.

The case design above is nearly final however there are still quite a few minor differences including, the crown in the center, thinner lugs and pocket watch type button on the right for time-setting while turning the crown.

The initial concept of two distinct worlds sharing their own sections of the dial can been see in the sketches above. The original name and logo was to be B&F, however, registration of the name proved difficult so MB&F was chosen. If you look at the scribbled comment at the top left of the drawing you can see '70?' . That is designer Eric Girod, asking Max if he is certain that the size will be wearable (the eventual width was 65mm).

One of the principal characteristics of the MB&F project at the beginning was the search for a general coherence.

This was a very difficult stylistic exercise because the very foundation of the project was based on the integration of tension.

Tension between components, which a priori are not normally seen together, but which were deemed essential to the establishment of a contemporary object.

A lot of thought was put into attaching the bezel and lugs to the case. This engineering type open style was considered for the lugs but it was decided that access to the attachment screws was too restricted. As you see in the images above and below, the crown is still centrally located here.

With crucial input from friend and designer, Eric Giroud, the sketches slowly acquired more and more detail.

The initial concept of two separate halves became holistic by integrating all the creative worlds into one, more harmonious, whole.

The initial work was extensively focused on the size and comfort of the timepiece, then came the aesthetic and technical details.

In the sketches above left, you can see that the tourbllion is still to the side and it comes to the center on the right. At the top and bottom left you can see variations on the infinity symbol that the figure-of-8 case shape invokes. The dial design started with non-retrograde indications, evolved to retrograde indications, and then back again.

Countless innovative lugs were imagined and over 30 designed before one was selected as appearing both integral to the case and practical in holding the strap snugly to the wrist.

A multitude of dials were drawn, considered and discarded, before a promising multi-layered arrangement took hold and underwent continual refinement.

The placement of the tourbillon in the center of the dial anchored the first stage of the layout; then came choosing the hour and minute display.

Retrograde indicators were seriously considered but were finally abandoned due to technical constraints.

The power reserve was initially planned to be on the side of the case as at this time that had not been done in a wristwatch when this was drawn. Unfortunately, Jean Dunnard launch a watch with the same concept first so the idea was abandoned.

The dials are on multiple levels to create space and volume, as well as to add an extra spark of life to that provided by the tourbillon.

The goal was to play with shade and light so that `the machine’ looks both coherent and alive.

«We made five case prototypes before being satisfied that we had the right look. The lugs alone went through 30 different renditions and we evaluated 70 different versions of the dial!» Maximilian Büsser

Max Büsser and Eric Girod held a friendly competition to see who could come up with the rotor design. The Double Hakken from Büsser's childhood comic hero, Gerendizer (aka Goldorak), won out and the design has become one of the most iconic features of MB&F's Horological Machines.


	«For the winding rotor, my childhood comic hero Grendizer (aka Goldorak) and his Double Hakken resurfaced; this also inspired the tourbillon carriage. The tourbillon bridge on the other hand recalls a pocket watch by Abraham - Louis Breguet. The contrast and mix of references are designed to create a tension between different areas of the timepiece.»

The automatic winding rotor came from deep down in Büsser’s memory. The form was inspired by the Double Hakken battle ax of a childhood comic hero, Grendizer (aka Goldorak).

Echoes of this distinctive shape can also also be seen in the tourbillon cage, while the tourbillon bridge is reminiscent of a design from an early Abraham-Louis Breguet pocket watch.

«Eric and I wanted a symbiosis between the machinery and Grendizer. Going far beyond the normal technical constraints, our movement constructor, Patrick Lété, who also trained as an industrial designer, really caught the soul of the watch.» Maximilian Büsser

All of the screwed elements have seals.

Being able to attach components easily and quickly by screw was essential for technical reasons; however, a suitable esthetical solution was not found until Giroud created a screw head which accommodated the hexagonal insert.

These screws heads are now one of the strongest ‘Jules Verne’ features of the architecture.

Even apparently minor details had their technical imperatives so that the final shape was a meld of both unbridled design and form following function practicality.

The bezel for instance had to be substantial enough to support the screws and gaskets and a look at the side of the movement reveals torsion bars which stiffen the long base plate, ensuring rigidity for the eye-catching raised central tourbillon.

Five different case prototypes were crafted before Büsser and Giroud found the physical form that matched their mental ideal.

Above left are a couple of attemps by Max Büsser and Eric Giroud to design a movement layout. They quickly realized that that job required serious watchmaking skills which Patrick Leté provided. On the right are three proposals for movement artitecture layout that Patrick submitted and the bottom was chosen.

	The groundbreaking movement, its shape dictated by the figure-of-eight form of the case, had to be developed in parallel with the watch case - a process which caused more than its fair share of synchronization and work-flow planning headaches.


	«Our goal was to blend a mixture of traditional reference marks with ultra-modern ideas. We tried to create tensions in order to create coherence . . . and I feel comfortable that with HM1 we have achieved that.» Maximilian Büsser

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