Audemars Piguet Lashes Out – The New York Times

LE BRASSUS, Switzerland — The new Musée Atelier Audemars Piguet, a glass and metal pavilion scheduled to open to the general public on June 26, stands on a grassy knoll between the corporate’s two 19th-century buildings right here — one thing like a bridge between its previous and future.

“We did have a small museum here but we had in mind to build an extension to present the richness of our watchmaking culture,” Jasmine Audemars, chairwoman of the household-owned firm’s board of administrators, stated throughout a media preview of the museum in February. “We wanted a structure that would be integrated into the landscape with unobstructed views of the valley so that visitors could experience our heritage.”

Bjarke Ingels, the Danish architect who designed the new building, had his own view: “We had to tread carefully because this was like bringing an annoying newcomer between two friends.”

But then Mr. Ingels — whose disruptive thinking on architecture was the subject of a 2017 episode of “Abstract: The Art of Design,” a Netflix documentary series — has yet to design a typical structure.

“Swiss building rules, to say the least, are very strict,” Mr. Ingels said at the preview. “I was told a building here must resemble other buildings, meaning that it must have a double-sided angled roof.”

Still, Mr. Ingels managed to win over not just Audemars Piguet, but also the local council, and construction began in March 2017. (“Bjarke’s project was not just out of the ordinary for the vallée, it was out of the ordinary for all of Switzerland,” Ms. Audemars said, referring to the Vallée de Joux in western Switzerland, where Le Brassus is located.)

“We weren’t trying to be provocative,” Mr. Ingels said, “we were just tapping into the heritage of the valley without creating a replica of what was already there.”

“We aligned ourselves around the concept of an ‘oxymoron,’ a word I had to look up,” he added. “That means combining two things that could seem mutually exclusive at first and creating a new hybrid form. Once the tension settles, something new comes into the world.”

The pavilion’s interior, which totals 2,500 square meters (26,910 square feet), was designed as a coil — deliberately meant to resemble a watch spring. “The spiral felt like an incredibly simple layout where form and content were linked together,” Mr. Ingels said.

One part houses a workroom, called the Grandes Complications Atelier, where visitors will be able to look through glass partitions to observe watchmakers at work. The other showcases the brand’s heritage display: 300 timepieces ranging from chiming and astronomical complications to jeweled pocket watches, all mounted inside clear protective domes. And at the center of the spiral: The 1899 Universelle pocket watch — with 21 functions and 13 hands, the most complicated timepiece ever produced by Audemars Piguet.

Few people outside the Swiss watch world know that most of Audemars Piguet’s vintage pieces are one of a kind because, until 1951, it sold complications to distributors and retailers rather than making its own watches.

Initially, “the company was too small, and focused on hand-finishing movements and creating complications,” Michael Friedman, the brand’s head of complications, said at the preview. “It was the powerful retailer’s name that went on the dial.”

In addition to the Universelle, a particularly noteworthy exhibit is a rare 1943 chronograph that Audemars Piguet acquired in 2015 at a Phillips auction for 305,000 Swiss francs (now $315,480). In March it reissued the elegant wristwatch, which has a champagne-colored dial, in a 500-piece limited edition with the name [Re]Master 01.

The pavilion’s structural glass walls were curved to support the steel roof, made of two circular plates totaling 470 tons, which rises from the hillside slope. In February, the roof was covered with snow. In spring, it has a carpet of regional grasses, planted to help control the building’s temperature and to absorb rainfall. A brass mesh runs along the edge of the outer glass walls to regulate light and heat.

While the description sounds — and the roof looks — unusual, the building actually does blend well into the surrounding landscape (a bit like I.M. Pei’s Pyramid at the Louvre).

Le Brassus is less than 40 miles north of Geneva, but it is an area of farmlands and vineyards, set against the pine tree-speckled peaks of the Jura mountains. Historically, the area’s long, harsh winters kept farmers indoors for months, and by the 1700s they were occupying their inventive minds and nimble fingers with horological invention.

The valley itself also helped. “In the 15th century, iron was found here,” said Sebastian Vivas, historian and museum director at Audemars Piguet, “which was used to make steel, and allowed farmers to make watchmaking tools.”

At Audemars Piguet, however, the museum also is expected to have a significant impact on its hometown, a village of just 1,360 residents where it traditionally has played an outsized role.

For years the village has had just two hotels — one of them, a 50-room inn called Hôtel des Horlogers, owned by Audemars Piguet since 2005 and just a short distance from the company complex along the Route de France, the village’s lone main road. But its basic utilities as well as the pine walls and brown leather furniture had become seriously dated over the years, so the building was razed and work began on a new hotel in mid-2018.

The company will not disclose the cost of building the museum and the hotel, or of some refurbishment that has been done to the 19th century buildings.

There is little doubt that Mr. Ingels’s architecture will change Le Brassus forever. But has watchmaking changed Mr. Ingels?

“I did not wear a watch when I started this project,” Mr. Ingels said. “Now I have this beautiful openwork thing ticking on my wrist.”

“Also, I find myself using a lot of watchmaking metaphors.”

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