Huber Watches Jewellery Lifestyle

Marrakesh

An oasis of happiness.

Architecture built on water

Europe goes for a swim.

Jewellery and watches in 2012

e history of the hour.

Taking life into your own hands.Simmering – not with rage, but rather my new-found pas-sion for cooking. When was the last time you put your hand to something? When did you last go out with a pair of shears to tidy up your garden? Or get your hands dirty fi xing your Harley? When did you last bake a cake or paint a picture, even? Using our hands to make things is defi -nitely in. Perhaps it’s because we’re fed up with all those screens, large and small, which dominate our daily lives. And while our eyes are tired, our hands are itching to cre-ate something we can call our very own. Merely to con-sume things all the time gets a little boring.

Francis of Assisi was fully aware of this when he wrote: «He who works with his hands is a labourer. He who works with his hands and his head is a craftsman. He who works with his hands and his head and his heart is an artist.» In this sense anyone can be an artist. This issue of our «kultuhr» takes you on an incredible journey with portraits of people and places that simply burst with ideas, inventiveness and the imagination.

Craftwork exerts a powerful fascination which can easily hold its own against the magic of the digital world. It makes us feel more human and gives us a profound sense of in-ner satisfaction. Frequently, we observe the appreciation people have for unique hand-made watches and jewel-lery. Intuitively, we grasp their intrinsic yet intangible value. We feel their power and energy. So it’s hardly a surprise that our watchmaker seminars attracted so many partici-pants. By appealing to the body, mind and soul, craftwork enables us to regain our sense of inner harmony. In this sense, I urge you to take this summer by the hand and discover the artist in yourself!

Best regards,

Norman J. Huber

Best regards,

Norman J. Huber

6-7 | CONTENTS

No. 39 / 2012

12 | White cube in the Städtle.Architecture as conceived by Morger+Dettli puts people at the heart of its designs, turns inner life into external structures and pays care-ful heed to the context of surrounding areas. Morger+Dettli track the traces of the past in their designs for the future.

18 | Pearl of the south.Marrakech has always captivated travellers with its unique blend of dazzling magic, exotic folklore and extravagant luxury, but never so much as today.

24 | Luxury knives from here to eternity.Lars Scheidler, the founder and owner of Nesmuk, is one of the very few manufacturers in the world today who has perfected the art of knife production. We caught up with him in his forge.

44 | Diamonds are forever.Nothing else refracts the summer sun as alluringly as a diamond worn on the skin. Starting on page 44 we present a small extract from our own collections. Huber Private Label stands for exquisitely beautiful jewellery of the highest grade and quality.

56 | Europe goes for a swim.One might easily say that Europe is the central point of this planet. Its cradle and heart, alongside Asia, America and Africa, obviously. A summer holiday at the seaside. In the centre. Freshwater architecture at its fi nest.

08 | ENTRÉEWonders of nature.

10 | IN BRIEFThis & that.

12 | INTERVIEWWhite cube in the Städtle.

14 | PORTRAITL’amour à première vue.

18 | EXPEDITIONMarrakech – An oasis of happiness.

24 | CRAFTSharp cuts – Nesmuk luxury knives.

26 | GOURMETMen cook differently.

28 | SUMMER IN FASHIONThe pattern of colours.

30 | CULTA little speedster makes it big.

32 | HUBER WATCHMAKING STUDIOThe history of the hour.

33 | SURPRISEHuber specials.

34 | HUBER SPECIALThere’s nothing like this.

36 | MEN’S CLASSIC WATCHHole in one.

42 | WOMEN’S WATCHGirls just wanna have fun.

44 | HUBER PRIVATE LABELDiamonds are forever.

50 | ANNIVERSARY20 years of Huber and Pomellato.

54 | ARTSummer of art.

56 | WELL BUILTEurope goes for a swim.

60 | VIP – VERY IMPORTANT PARTYHublot in Vaduz

8-9 | ENTRÉE

Wonders of nature.The return of the decorative.

It was impossible not to feel truly amazed. This year, Chanel and Marchesa staged fashion shows which appeared to surpass them-selves in terms of fantastic design. Nature, with its plethora of shapes and colours, was clearly the inspiration behind many of the collec-tions. The latest designs by Donatella Versace and Salvatore Fer-ragamo also pay homage to the work of one man: Ernst Haeckel, a zoologist and exceptionally gifted illustrator who lived in the 19th century. Born in Potsdam in 1834, his illustrations of marine biology inspired the Jugendstil pioneers of his day. Legendary photographer Karl Blossfeldt was impressed by his detailed depictions of sea anem-ones, radiolarians and jellyfi sh in all their beauty. These lifelike portray-als by the most important promoter of Darwinism have continued to fascinate people right up to the present day. In regard to the theory of evolution, Haeckel advanced the notion of the cosmos as an «all-encompassing natural whole» and was a passionate researcher: «The beauty of the fruits of the Tree of Knowledge makes Paradise Lost a

worthwhile condition.»10-11 | IN BRIEF

This & that

Now take a deep breath.An «Atmos» clock for the EOTY.

It’s true. Even people at the top – people bearing a heavy burden of responsibility, people exposed to the trials and tribulations of a harsh economic climate – need moments when they can take a deep breath in gratitude at some well-earned recognition. The «Entrepreneur of the Year» (EOTY) is an international competition which acknowledges and honours outstanding business achievements. Since 1986 it has been awarded annually in 50 countries across the world – Liechtenstein hosted the ceremony for the second time last year. On 14 October 2011 the fi nal in Liechtenstein sparkled with 13 top candidates. The award for outstanding business achievement went to Anton and Christoph Frommelt. The two brothers have taken a 135 years old traditional Liechtenstein carpentry business and turned it into an inno-vative provider of timber solutions for home interiors. Juan Jolis, man-aging director of Huber in the Städtle, was delighted by the carefully considered decision of the independent jury and handed over the Hu-ber sponsor award – an exclusive «Atmos» clock by Jaeger-LeCoultre – at the glamorous ceremony with the words: «Successful entrepre-neurship needs air to breathe. Just like this clock here. Frequently, that alone is all it takes for dynamism and movement to emerge. We’re delighted to have this new wind blowing through Liechtenstein and warmly congratulate Anton and Christoph Frommelt as well as the other nominees on their tremendous success.»

The grand-seigneur between two worlds.Hasan Cobanli was born in Istanbul, studied literature in Los Angeles and graduated from the «German School of Journalism» in Munich. He has written for such publications as «Stern», «Capital», «Aviation Week» and «Abenteuer & Reisen»; he has gone round the world for «WirtschaftsWoche» and «Vogue» magazines. Today, he cooperates with TV broadcasters such as ARTE, has made 25 travel documen-taries (award-winning pieces in some cases) and is the co-founder of an Internet portal.

Hasan Cobanli, the grandson of Kemal Atatürk’s companion Ce-vat Pascha, spent his childhood and early youth in Istanbul. He was born there and regularly returns to the city. On his father’s side, Hasan comes from one of the best Turkish families, while on his mother’s side he is the great-grandson of Prussian fi eld marshal Graf von Roon. Consequently, he is able to straddle the divide between the Orient and Occident in a marvellously likeable way.

Just for us he set off on a journey to visit one of the most beautiful and mysterious cities on this planet: Marrakech. An oasis of happi-ness. A pearl of the south. He takes us along on a sensual journey of discovery, profi les Bernd Kolb and the Club of Marrakech and recom-mends that we pause for a while in this inviting city with its cool inner courtyards, enchanting gardens, friendly people and culinary delights.

Roger, over and out.In summer. In Lech.Remember those lazy, hazy days of summer? The phrase evokes the good old days of colourful meadows, white tablecloths and Sunday cakes. Visitors have been able to enjoy an old-time summer break in «Europe’s most beautiful village,» situated at 1,450 metres above sea level in the heart of the Austrian Alps, since 2004. For this was the year when Lech am Arlberg decided to open up its gates to summer visitors. An outlet of Huber Fine Watches & Jewellery opened in Lech in 2011 – good news for all those wishing to enjoy the magic atmos-phere which pervades 250 km of hiking trails around the River Lech.

Summer is quieter than winter. Locals and visitors alike enjoy the vil-lage community, the breathtaking scenery and dollops of natural, laid-back conviviality during this period. Despite this haven of tranquillity, «we were surprised at how busy it’s been. Plenty of winter visitors have

now started coming to Lech in summer and are already choosing Christmas presents for their nearest and dearest in our shop,» Huber managing director Roger Jacquat is delighted to report.

From 28 June to 22 September 2012 Roger Jacquat and his team will be extending a warm welcome to summer holidaymakers with Hu-ber’s latest collections from the world of watches and jewellery, and probably entering a beauty contest with a good few Alpine fl owers. It’s entirely in keeping with the idea: «Which fl ower shall I pick? Come and whisper in my ear / who’s the most beautiful of us all here?»...

«Bio-diamonds» or why knowledge can be reassuring.Yes, we care a great deal about how we source the jewellery and watches which are intended to provide you with unalloyed pleasure. By signing up to the ethical charter of Swiss watchmakers and jewel-lers a few years ago, we have entered into a commitment to provide complete transparency for our customers. What we mean is that we provide clear information about all the materials and products which we use, process and offer, and about our working practices. We base our use of different precious metals and stones on their quality, meth-od of processing, artifi cial modifi cations and origin. Members of our staff regularly attend education and training courses in this regard. We also recognise the high ethical principles of the international watch-making and jewellery industry through our compliance with standards regarding environmental protection, child labour and health care, by applying the rules of the Kimberley Process and the World Diamond Council, and by offering diamonds that exclusively come from legiti-mate sources and which are certifi ed confl ict-free. On that we give you our word.

The ticking trade fair barometer.He’s a bit of a tree frog in the watchmaking world. A legend. A walk-ing encyclopedia of timepieces. He knows when people will ascend to the top of the ladder in the industry, and he has a pretty good idea why one or the other collection doesn’t quite ignite the enthusiasm which its creators had hoped for. Gisbert L. Brunner knows all the players and they all know him. There’s probably not a single serious watch magazine in the German-speaking countries which hasn’t been delighted to have had him and his prodigious expertise on board at some time. Originally, the journalist and author who studied law, psy-chology and special education had no intention at all of making a ca-reer out of his hobby. This unexpected turn of events can be blamed on a crisis. Born in 1947, Brunner has been dealing with watches, pendulum clocks and other precision timepieces since 1964. The so-called «quartz crisis» in the 1970s only boosted his love of mechanical clocks and watches at a time when they appeared to be in termi-nal decline. It was his passionate drive to collect timepieces that led him to publish his fi rst magazine articles and books at the start of the 1980s. These efforts were crowned with remarkable success. He has remained true to «his» subject and we’re delighted that he’s found the time to cast a fresh glance at tourbillons, a particularly beautiful rarity in the world of watches, even though it’s the busiest time of the fair and exhibitions’ season.

12-13 | HUBER IN VADUZ

White cube in the Städtle.

Text Eva Engel Photos Morger+Dettli, Ruedi Walti, Derek Li Wan Po

Architects Morger+Dettli are designing a new building for the Hilti Art Foundation and Huber Uhren Schmuck in Vaduz.

Architecture begins with people. Architects Morger+Dettli from Basel are specialists when it comes to embedding a building into existing structures and the environment. They always adopt a sustainable ap-proach which puts people at the very heart of their designs. Useful-ness, fi rmness and gracefulness (or utilitas, fi rmitas and venustas, as the Roman architect Vitruvius put it) form the cornerstones of each building they work on.

Turning inner life into external structures.Inside, light will be refracted just as in the case of a precious stone. The shiny surface will be refl ected in a different intensity and colour depending on the time of day and the weather. The surroundings will become part of the building while the building will become part of the surroundings.

The home which Huber Uhren Schmuck and the Hilti Art Foundation are set to share in the Städtle in Vaduz will bear all the hallmarks of interior and external beauty.

When the Basel-based duo of architects Morger+Dettli rolled out their fi rst designs for the new Huber Uhren Schmuck and Hilti Art Foundation building their ideas were enthusiastically received right from the start. First impressions are lasting impressions, so they’re particularly important for passers-by and viewers in general. Above all, the consistency displayed in the symbiotic juxtaposition of the art museum and new building was considered highly impressive.

Architecture for a city on the move.The Liechtenstein Art Museum was commissioned by the City of Vaduz and gradually took shape in the Städtle from 1998 to 2000. It was based on a design by architects Morger+Degelo in association with Christian Kerez. For the architects it was clear that the museum’s monolithic structure, the design of its façade and the choice of materi-als should blend unobtrusively into the urban fabric yet at the same time stand out from the surrounding buildings. The new Huber Uhren Schmuck and Hilti Art Foundation building which is now emerging will not only tap into an abundance of substantive synergies with the Liechtenstein Art Museum but also create an important visual comple-ment by fi lling a gap and making the cityscape appear complete.

1 23

Picture 1: The Hilti Art Foundation and Huber Uhren Schmuck, united from 2014/15 in the white solitaire by Morger+Dettli.

Picture 2: Basel exhibition tower, fi rst prize in 1998 concours, realised 2001 – 2003. Architects Morger+Degelo in association with Daniele Marques, graduate architect of ETH/BSA.

Architects Morger+Dettli:It’s the place which concerns us.

What role does sustainability play in your construction projects?Prof Meinrad Morger: Sustainability isn’t just a matter of ecological is-sues and energy performance. Buildings must be able to meet the re-quirements for a long service life. In addition to the responsible use of resources there’s also the question of cultural and social responsibility. As a result, sustainable architecture must meet ecological, economic and cultural requirements in equal measure if it is to do justice to the requirements of social change over the long term.

Is architecture really art?Fortunat Dettli: The notion of architecture has been hotly contested down the centuries and can’t easily be explained in a few words. In general, architecture can also be regarded as the art of building, meaning a union of building and art. One aspect which art shares with architecture is the intention which precedes the artwork or structure. Consequently, «architecture» is clearly distinct from «construction» in the general sense of erecting a purely functional building. On the other hand, architectural tasks are also subordinate to the purpose of the structure which is to be built, so they clearly differ from works of the visual arts. So we can say that architecture and art are closely allied and partly related cultural disciplines. They can’t really be separated from each other, but nor should they be regarded as fundamental equivalents.

How do you think architecture will look like 50 years down the line? What kinds of places will we be living and working in?Prof Meinrad Morger: The development of architecture should always be seen in the context of processes of social change. It’s diffi cult to predict cultural, political, economic and ecological developments with any certainty.

Architecture can be seen as part of cultural development, as a proc-ess which is subject to constant changes and new infl uences, and which is obliged to take these into consideration.

Architecture creates the ubiquitous built environment in which peo-ple live, which surrounds us all. Hence architecture shoulders an oner-ous responsibility. This responsibility has never been felt so acutely as today, given the incessant process of global urbanisation.

What kind of project would interest you personally?Prof Meinrad Morger: Looking to the future, what particularly interests me are the challenges posed by cultural buildings. Here, architecture can be realised in its purest form. In this regard, the specifi c chal-lenges involved focus on fundamental aspects of architecture – on space, typology and structure.

Thank you for talking to us.

Picture 3: Fortunat Dettli and Prof Meinrad Morger during the conver-sation.

14-15 | PORTRAIT

L’amour à première vue.

Text Irmgard Kramer Photo Markus Gmeiner

Born into a family of watchmakers and goldsmiths, and named after a precious stone, Beryl Huber (24) loves being able to see into the very soul of jewels: She works as a gemmologist, an expert in the fi eld of precious stones, and lives in Lucerne.

Palaces, tigers, elephants and jewels defi ned exotic India until 1971. Then the fairytale world of the country’s princes came to an abrupt end. First the princes had to sell their pompous palaces, then their jewellery. Take the Maharaja of Baroda, for example. His famous necklace with seven strands made of natural pearls as large as mar-bles took 300-400 years to complete. The fastener is adorned with a diamond of considerable size. But who can you fi nd to judge the four «c»s of this stone, namely clarity, colour, carat and cut?

One possibility is the Gübelin company in Lucerne. Doctors in geol-ogy, mineralogy, crystallography and geography work at its laboratory. They come from seven countries and speak six different languages. The youngest member of the team is gemmologist Beryl Huber from Liechtenstein.

Precious stones under scrutiny.After completing her education at a tourism college and after a spell abroad in Canada, Beryl felt the growing desire to make a career out of her private passion for precious stones. She studied for half year in Carlsbad, a small town in California. Then she applied for an internship at Gübelin’s jewellery laboratory. The head of the family-run company, whom no-one gets past from Bangkok to New York, was impressed by her commitment and eventually hired her as a permanent staff member. She currently grades diamonds – «I like working with col-oured gemstones just as much» – and has analysed over 2,500 of them until now. They’re part of a completely unique reference collec-tion containing 20,000 gemstones from all over the world. Afghani-stan, Colombia or Russia? The country of origin determines the value. Gübelin constantly tries to obtain samples from newly opened mines and add them to the database.

Deeply hidden secrets.It’s not just the arrangement of air bubbles, salt crystals and liquids which shows Beryl where the stone comes from after a process of elimination – when she looks into a microscope, she forgets every-thing around her and discovers alien galaxies: spiral nebula, swirling gas clouds, globular clusters, jagged Pleiades, red giants, the clouds

of the Milky Way, underwater landscapes and blossoming gardens. «Just the colours alone! It’s incredible what the Earth has to offer. It took millions of years to create these gemstones,» enthuses Beryl, who says she wouldn’t want to pursue any other career. She’s a mod-est woman: she doesn’t wear jewellery herself. But if a fairy were to appear she would wish for a spinel in a vibrant reddish pink. Or a Kashmir sapphire, known as «blue velvet» due to its cornfl ower blue colour and its sleepy quality. Thanks to its rarity, and because the little mine in Kashmir has long been exhausted, this jewel has acquired a legendary reputation – like the necklace of the Maharaja of Baroda. After a thorough examination at Gübelin, two of the strings of pearls went under the hammer at Christie’s in New York for over $7m.

Beryl Huber is still a junior gemmologist. She’s grateful for the experi-ence of her father Norman J. Huber, who completed the same kind of training before she was born. «My parents considered calling me either Amber, Jade or Beryl,» smiles Beryl. «I didn’t really have any choice in the matter – I would have been a gem in any case.»

Beryl refers to a group of precious stones which include emerald and aq-uamarine. All clear crystals were called berillus in the Middle Ages and abbreviated to brill, from which the English word «brilliance» is derived.

Picture 1: Ruby (corundum)Picture 2: Sapphire (corundum)Picture 3: Ruby from the Gübelin reference collectionPicture 4: Ruby (corundum) / Emerald (beryl)

18-19 | EXPEDITION

MarrakechAn oasis of happiness.

Those who love and dream of the kind of Orient evoked in old fi lms, world-famous fairytales and descriptions of Orientalists will fi nd it at only a very few places today. And without a doubt, one of these plac-es is Marrakech.Text Hasan Cobanli Photos Bernd Kolb, Hasan Cobanli, Palais Na-maskar

Even though Morocco’s most beautiful city isn’t really located in the «Orient,» meaning the east, but far out west, in the «Maghreb» of the Arab world, Marrakech still epitomises the Orient. Its old town, the Me-dina, its markets, the souks, its splendid palaces, mosques, the riads with their cool inner courtyards and enchanting gardens, and last but

not least the array of culinary delights from elaborately made mint tea to couscous and tajine – they all capture the quintessence of the Ori-ent. Marrakech presents itself as a unique blend of modern comfort, luxury and Bohemian lifestyle.

Quality of life from a bygone era.Untouched by the chaotic situation which has beset the Arab world since 2011, by wars, confl icts and mayhem, Marrakech remains rela-tively stable and continues to fl ourish against the stunning backdrop of the snow-covered Atlas Mountains.

What distinguishes Marrakech from Damascus, Cairo, Tunis, Tripoli or Algiers is the opportunity it has had to nurture a purely oriental cul-ture against the background of a tolerant form of Islam. Consequently, it offers a major opportunity for individualism. Everyone can fi nd their happiness here. Famous composers and writers, successful busi-nessmen from Europe and America have chosen Marrakech as their second home, painters and rock stars have lived here (or regularly visit the city incognito), and many people have described the fl air of the «Red City». Marrakech is good for a weekend; it’s also good for longer – and for some it’s good forever.

I was the guest of an Austrian princess who cultivates western-oriental hospitality at her palazzo in Marrakech; at La Mamounia I cel-ebrated New Year’s Eve with a former ambassador from Europe who had settled down in the city – with Mick Jagger and his anonymous, attractive female entourage sitting right at the next table. Deep inside the Kasbah, in an enchanting little antiques shop, I saw a relaxed Princess Caroline of Monaco sitting on a little stool – she was having some silver jewellery shown to her. Everything is possible in Marrakech and each encounter becomes more and more enchanting thanks to the aura of the city.

The prices for real estate, standard commodities, services and hotel accommodation are still quite reasonable. The city has a veritable cor-nucopia of offers to suit all tastes, budgets and requirements.

Go off on adventurous shopping tours through the labyrinthine al-leys of the souk and learn how to bargain. The rule is: When you suggest a price you have to pay it once the vendor agrees. Accept an invitation to a thé à la menthe or have a sundowner cocktail by the poolside of your hotel. Hire a car (it’s wise to hire a driver, too) and explore the foothills of the Atlas Mountains in front of the city gates. Go for an evening or nighttime stroll across the Djemaa el-Fna... No matter how you decide to approach this city or immerse yourself in it, you’ll never forget the experience.

Set off on a sensuous voyage of discovery.It takes time and patience to get Marrakech under your skin. Take a ride in a horse-drawn carriage to the deep blue jardin Majorelle, Morocco’s most beautiful garden. When evening and night fall over the city, sit out on the roof of a riad, or perhaps even the roof of your hotel, palace or your hostel. And stay there! Take a blanket and a pil-low with you, fall asleep, but stay there! Towards the onset of morning, when the cocks begin to crow and the sounds of a hundred muezzins are carried on the mild morning wind from the minarets the near and far – no matter whether you’ve stayed up all night or are just waking up – this magical experience will also remain an unforgettable memory. Alhamdulillah.

20-21 | EXPEDITION

The Club of Marrakech.Bernd Kolb – for a better future.Bernd Kolb, German «entrepreneur of the year» in 1999, sold his company to become an executive director at Deutsche Telekom until 2007. Today, he is in worldwide demand as a consultant, speaker and publicist. He passionately illustrates his talks with the new ideas of the «Club of Marrakech», an interdisciplinary network of globally infl uential change-makers.

Kolb points out ideas and opportunities that arise from the new sys-tematic approach to thinking and acting – with the view of a man who knows the business world from personal, hands-on entrepre-neurial experience. Moreover, he also coaches managers and or-ganises «change» workshops for major companies and institutions. «All that started here in Marrakech. We ourselves felt inspired and our profound experiences of and with the people here fundamentally changed our lives.»

«Playboy» magazine recently voted Kolb «Man of the Year» in 2012, describing him as a «smart revolutionary of the new generation, not a do-gooder, but an intelligent, pioneering thinker who inspires and moves people».

Hotel of love. City of dreams.The story behind the riad AnaYela is inseparably linked to its creators: the Kolbs, a married couple. In 2007 the two went to Marrakech and got married there. Kolb picks up the story: «It’s true love, and we want-ed to build a monument worthy of this love: The riad AnaYela emerged from a historic palace in the heart of the Medina of Marrakech, the big-gest and best maintained old town in the Arab world, our dream city.»

«We completely dispensed with power tools and construction ma-chinery during the building phase,» Kolb reports and now has to laugh about this hellish undertaking. «We wanted to achieve the greatest possible authenticity; we also wanted to realise our wishes for the big wide world out there in our own little world. Our Moroccan building workers shook their heads in disbelief when I explained to them that we would be building everything by hand in the old traditional way – without machines». For Kolb the idea of «contributing of the preserva-tion of local culture and local craftsmanship through this commitment» was a matter close to his heart.

«Love is simply the greatest gift,» smiles Kolb, and – yes, it’s easy to take his word for it: «Alhamdulillah,» thank you. I take another sip of the fresh thé à la menthe. And the fi ery red sun Kolb got up with earlier that morning sinks down behind the stunning minaret of the Koutubia mosque of Marrakech.

Riad AnaYelaThe AnaYela is a 300-year old little palace in the heart of the Me-dina. Riad AnaYela opened in 2008 at a ceremony attended by many VIPs and representatives of the press – and won the «World Hotel Award» shortly afterwards, not just once, but four times in succession. «AnaYela» means «I am Yela.» Legend has it that a girl, Yela, once lived in this house. One night, on the roof with its amazing views above the Red City, she discovered the mystery of love. «We wanted to create a place that would inspire people,» says Bernd Kolb, the builder and owner of AnaYela, «an oasis – also for new thoughts and ideas.» His efforts have been crowned with success. People from all over the world have been drawn to this palace ever since in order to enjoy the superb tranquillity of this sensuous oasis. The food is as excellent and authentic as the service. This is a journey into a supposedly bygone age, a great gift for stressed-out Europeans and pampered Ameri-cans. The room price includes airport transfers, sumptuous breakfast, room service, laundry, a hire laptop, WiFi and DSL throughout the building and a fl at screen TV in the salon. www.anayela.com

Palais NamaskarIf Marrakech today stands for unspoilt oriental fl air, the delicacies of the Maghreb and exclusive tourism to a far greater extent than any other city, then Palais Namaskar is a further good reason to set off on a journey to Marrakech. Here you can reside in the heart of a fragrant oriental park, between cooling bassins and pools, in 41 differently de-signed suites, villas and little palais. Two restaurants and a bar-lounge offer everything you could wish for in terms of international gastro-nomic pleasures. Inside, Palais Namaskar features a minimalist holistic design; outside, it fascinates guests with its hint of princely Moorish architecture from the end of the Middle Ages. It is located about 20 minutes by car from the centre towards the Atlas Mountains in the exclusive «Palmeraie» situated in front of the city gates. The airport is a 30-minute drive away. www.palaisnamaskar.com

Information

Getting thereThere are direct connections to Marrakech from Frankfurt, Munich, Vienna and Zurich airports.

Visa requirementsEU citizens do not require an entry visa.

Best time to visit: Marrakech enjoys superb sunshine throughout almost all of the year. March, April, May as well as September and October are regarded as the most pleasant times of the year to visit due to the hot summer and the cool winter. Every now and again it can rain for half a day or so in November and March.

CalèchesKnown as calèches, the dark green horse-drawn carriages with their golden lamps can accommodate up to four passengers and are used by the locals for simple rides, just as they are by tourists for tours. The offi cial price for a ride is 100 dirham per hour. Insist on this rate if the driver wants more! (Information correct in spring 2012)

A word or two on etiquetteIn Marrakech it’s hard to escape invitations to a whisky marocain, the bittersweet green tea topped off with fresh mint. It’s just like the çay in Turkey. But people won’t be offended if you decline the offer! It’s not

really worth accepting unless you feel sure you can enjoy an interest-ing conversation or cultivate a useful contact (otherwise you’ll get a stomach-ache in the evening).

If, however, you accept an invitation to a meal at the home of one of your friends in Marrakech it’s advisable to observe the local customs (bring a gift; you’re more than welcome to take along photos to show your hosts; take your shoes off and don’t display the soles of your feet to your host when you are sitting) – other than that, there’s nothing to worry about. Apart from one thing: Avoid using your left hand, which is considered impure. Only use your right hand to eat!

24-25 | CRAFT

Sharp cuts.Nesmuk luxury knives for the high net worth gourmet.

A dove grey silk scarf fl oats in slow motion on the steel blade of a samu-rai sword and splits into two parts at the fi rst touch. They then end up in bed: her black lace lingerie is suspended on the tip of his sword.

Ever since the fi lm «The Bodyguard» we’ve known that no-one forg-es sharper blades than the Japanese. No-one, that is, except for Lars Scheidler, a German blacksmith who has perfected the art of knife-making and has not only delighted princes and celebrity chefs with his Nesmuk manufactory.

The art of a superlative blacksmith.Even as a two-year old he’d be sitting there at the kitchen table, run-ning his fi ngers along the sides of knives whenever he could, at least until his granny carefully removed the dangerous implements from his hand. Today, television crews and journalists beat a path to his work-shop where he stands with his hammer at the anvil, turning a nonde-script piece of steel into an item of luxury by the sweat of his brow. They all want to report on his «sharpest knife in the world,» his «most expensive knife in the world» – a piece of work which costs €80,000, has a timeless elegance from front to back and is decorated with 13 diamonds. «It is a bit decadent, I must say,» admits celebrity chef Ste-fan Marquard during the knife test.

«But once you’ve used it to cut a Parma ham into wafer-thin slices, you won’t want to work with anything else.» A tomato surrenders easily to the blade. The cutting edge of a sharp kitchen knife is thirty-thou-sandths of a millimetre thick – or should that be thin? A Nesmuk knife is a hundred times sharper. It can slice a hair lengthways.

The myth of «hard» and «soft».The secret lies in Damascus steel, which achieved historical signifi -cance in ancient times: A sword had to be light, remain sharp, and on no account was it to bend or break. But there is no single type of steel which combines the positive properties of soft and hard steel – hence the idea of mixing them; it’s the how to do this which remains a secret. After forging, the different types of steel form the typical Damascus pattern which makes the blade with its 400 layers so distinctive and requires such hard, physical work. «I love my job. I was born to do it,» says the top blacksmith who has long infected his son Jens with his enthusiasm. The two of them can produce four to seven knives a month. And it’s now offi cial: scientifi c measurements have confi rmed that Nesmuk knives are the sharpest in the world.

Lending a hand.Scheidler borrowed the idiosyncratic shape of his blades from an an-cient, 3,500 year old knife design. He makes the customised handles out of East Indian buffalo horn, palisander, rosewood and ivory. Or from a particular kind of bog oak, a rare and expensive species of tree. The oak itself last grew 5,000 years ago before falling into a North German moor. Hermetically sealed under sand and mud, it became exceptionally hard and turned black. «Nesmuk is far from being the Ferrari or Porsche of knife-making. It’s in a different league. Here we’re talking Enzo and Bugatti,» writes a user in the «Knife Forum.»

Lars Scheidler knows not everyone can afford handmade knives, so he’s put one on the market that approaches his handcrafted quality but only costs a tenth of the price. He receives a pre-manufactured version of the Nesmuk JANUS, adds a handmade handle, and gives it a fi nal sharpening. Although there’s no real need for such a knife, you have to admit: it looks absolutely beautiful. And it’s really sharp.

26-27 | GOURMET

Men cook differently.The secrets of the barbecue king.

Men discover their caveman instincts at a barbecue. It’s as if they can cook the «prey» from their latest hunting expedition with their own hands under an open sky. Men are the bosses at barbecues and women are pleased to leave them to it.Text Sweety Photo Markus Gmeiner

The day gets off to a good start. It’s an outdoor photo-shoot and the power adapter for the Swiss photographic lights simply doesn’t match the Liechtenstein socket. Markus Längle, the barbecue supremo with

a string of international awards to his name, grabs the photographer and drives him to the next electrical retailer.

Längle responds gently to the photographer’s polite objection that he doesn’t wish to cause a fuss with «Ah! But I know where we can fi nd the right plug!» – meaning: don’t waste valuable time.

Time management and the ability to think strategically ahead are essential ingredients if you want to be a top chef. Markus Längle is a tremendous juggler blessed with lots of common sense and technical expertise. All this enabled him to win a national barbecue competition with next to no prior experience of such contests.

Yet this is precisely what happened in 1999 when he and his team won the Austrian barbecue championships – from a standing start, as it were. Born in Altach, Vorarlberg, Längle can point to an impres-sive record of achievements. The list of establishments he’s worked in reads like a Who’s Who of award-winning restaurants. Before he started up his own BBQ catering business in 2008 he had already worked as a chef de cuisine at Europe’s most prestigious hotels and restaurants; as a private chef, he had pampered crowned heads of state; and he and his team had trained themselves up along the way on many evenings at one championship to the next.

After notching up a remarkable number of successes Längle set up Team Liechtenstein two years ago and promptly led it to victory in two categories at the 2011 World Championships in Gronau.

The secret.Try asking Längle for his top tips on how to make a barbecue go well and all he’ll tell you is that good preparation is everything. He advises selecting what you wish to cook three days beforehand, shopping for ingredients and preparing the marinades one day beforehand, and starting early on the actual day of the barbecue.

His BBQ catering service is available both in summer and winter. It offers everything anyone could possibly wish for and is booked out weeks in advance. «I prepare meals with several courses for an al-most unlimited number of people at different barbecue areas.» Anyone lucky enough to have ever savoured his «BBQ ice cream» will know that the man can simply make everything possible – on his hot coals.

Hot tipsExclusive barbecue course with Markus Längle on 14 July 2012

Venue: Weinkeller Mövenpick, Schwefelstrasse 14, 9490 Vaduz, LiechtensteinT +00423 232 7800

You can hire Markus Längle’s BBQ catering service and download recipes at www.markuslaengle.li.

Markus Längle – Success through passion• Gold medallist at the 1999 Austrian Championships in Traiskirchen• German champion 2000 in the overall rankings• Swiss champion 2001 in the overall rankings• European champion 2000 in the «Pork» category• Runner-up at the 2001 World Championships in South Africa in the

overall rankings and world champion in the «Fish & Seafood» cat-egory

• Runner-up at the World Barbecue Gold Cup in Interlaken und Swiss champion 2003 in the overall rankings

• World champion 2004 in Pirmasens (Germany) in the overall rank-ings and in the «Spare Ribs» and «Fish & Seafood» categories

• World champion 2005 in Hungary in the overall rankings, in the

«Pork» category and third place in the «Dessert» category• Swiss champion 2006 in Wetzikon in the overall rankings• Third place in the overall rankings at the World Championships 2006

in Poland• European champion 2006 in St. Pauls in South Tyrol in the overall

rankings, in the «Pork» category, and runner-up in the «Spare Ribs,» «Beef» and «Dessert» categories

• Third place in the «Home Cookin» and runner-up in the «Sauce» category at the 18th Annual Jack Daniel’s World Championship In-vitational Barbecue in Lynchburg/Tennessee

• Barbecue Champion of the World 2006, ranked number one in the world

• Third place in the overall rankings at the 2011 World Championships in Gronau (Germany) and world champion in the «Shoulder of Pork» and «Dessert» categories

28-29 | SUMMER IN FASHION

The pattern of colours.Etro – Italy on your skin.

She runs her hand very slowly over the richly coloured silk fabrics. Veronica Etro almost has a look of humility on her face the fi rst time she examines the fabrics for the new collections in her studio in Milan.Photos Etro

«Certain sounds stimulate our brain in a very special way. The same thing happens when we see colours and patterns arranged in a certain way, in a certain density. It’s a bit like an advanced training course for the synapses,» chuckles the famous designer. Colours and shapes are her passion. It’s a family tradition. Veronica blends fabrics and patterns, selects new prints with great sensitivity and conjures up the kind of trendsetting looks which leave everyone gasping in admira-tion – and which have delighted the fashion world for years.

Veronica attended the legendary Saint Martins College in London where she studied art, fi lm and photography alongside fashion design. Her family called her back to Italy when she fi nished school in 1997. A little later on, in 2000, she was put in charge of the women’s collection which her brother Kean had managed until then. Today she runs one of Italy’s most successful fashion houses together with her brothers Ippolito, Kean and Jacopo Etro.

The Roaring Sixties and India.Inspired by their many trips to India, her parents Gimmo and Roberta Etro 1968 founded a small fabrics company in 1968 and produced

exquisite silk, cashmere, cotton and linen. They garnered a name for themselves as a result of the unusual colours and patterns they developed. In 1983 the fabrics company became the Etro fashion company, which began making high quality ties, cloths and scarves. 1985 saw the market launch of their fi rst range of home accessories to which a complete home collection was added in 1990. The fi rst women’s and men’s fashion collections were showcased in 1988. In 1994 Etro presented the fi rst fashion show of its collections.

Emotional experiments.The company has been on the up and up ever since. Frequently, sales of the collections outstrip supplies. Obviously, Veronica welcomes this development: after all, it ensures the future of the company.

«My work is a highly emotional venture. I observe everything, write my feelings down and share inspiring ideas with my creativity team. My notebook accompanies me from the time I get up in the morning to when I go to bed late at night. What remains is the confi dence and certainty of leading our parents’ company into a successful future and making lots of people very happy with our clothes and products,» says a delighted Veronica.

Colours and patterns for inspiration – fragrances for the soul.Etro, a family-run company, has now achieved global fame. The name doesn’t just stand for extravagant, fl amboyant fashion. For years now, in addition to exclusive leatherware and high quality accessories for the home, the range of luxury goods has also been rounded off by a line of exquisite perfumes for years. Each perfume creation can be worn on its own or in combination with other Etro fragrances. They’re in a class of their own. In every respect.

30-31 | CULT

A little speedster makes it big.66 years of Vespamania.

For many people, summer without a Vespa is like winter without snow. Few other vehicles have made history in quite the same way as the Vespa. In 1946 the realignment of the Piaggio company, an aircraft manufacturer during the Second World War, resulted in a motor scoot-er that went on to become a cult phenomenon, dominating the eve-ryday life of entire generations. Even today, it still epitomises the very essence of Italian lifestyle.Photo Vespa

Lift-off into an uncertain future. The story begins in 1945 when the company founded by Rinaldo Pi-aggio in 1884 was forced to look around for a new line of business. At the end of the 19th and at the start of the 20th century Piaggio had been extremely successful in the fi elds of shipbuilding, railway con-struction and later in aircraft production. The end of the Second World War not only put a stop to aircraft production: war production ceased entirely. This parlous state of affairs, and the fact that the population needed a low-cost means of transport simply to get around, provided Enrico Piaggio – who together with his brother Armando had taken over the family business after the death of his father, Rinaldo Piag-gio, in 1938 – with the idea of developing a motorised scooter which everyone could afford.

Necessity is the mother of invention.Enrico trusted completely in his intuition and assigned the task of designing and building such a vehicle to aviation engineer Corrado D’Ascanio. It was a slightly bizarre decision: D’Ascanio had no previ-ous experience of building motorbikes. Even so, it meant that he was able to adopt a completely unbiased approach to the project.

The vehicle was revolutionary in comparison to other two-wheelers of the time: It was built of sheet metal parts which could be manu-factured on Piaggio’s idle presses. Since there were hardly any drive chains just after the war, the designer invented a little two-stroke en-gine with a cylinder capacity of 98 cm³ and a direct drive. The front wheel suspension was simply borrowed from aircraft designs and the wheels chosen were the type used on wheelbarrows – for although they were, in fact, much too small for a scooter, at least they were available. The headlight was placed on the front mudguard and eve-rything painted in «Mussolini green» – a colour still widely available just after the war. When Enrico Piaggio fi nally sat on the «M 6» prototype with its characteristically wide lower section and its slim waist he ex-claimed: «It looks just like a wasp!» The Vespa (or «wasp» in English) – Piaggio’s fi rst scooter – was born.

The Vespa as the epitome of lifestyle.Gradually, riding about on a Vespa became synonymous with values such as freedom, informality and independence among the popula-tion. Piaggio’s new scooter suddenly symbolised a very special life-style. Photo-shoots and fi lm sets are a good example: the Vespa has always been a stalwart accessory of the stars such as Raquel Welch, Ursula Andress, Geraldine Chaplin, Joan Collins, Jayne Mansfi eld, Virna Lisi, Milla Jovovich, Marcello Mastroianni, Charlton Heston, John Wayne, Henry Fonda, Gary Cooper, Anthony Perkins, Jean-Paul Bel-mondo, Nanni Moretti, Sting, Antonio Banderas, Matt Damon, Gérard Depardieu, Jude Law, Nicole Kidman, Eddie Murphy and Owen Wil-son. As they say: Ride a Vespa and bring on the summer!

was christened horologium pulsatile, clocke or Zytglocke (meaning a timed bell). The fact that they rang out from each church in each town or city at different times was barely registered by anyone – except for a handful of surprised travellers.

Bell ringers as timekeepers.In general, communications, transport and indeed, any kind of move-ment were slow by today’s standards. No-one appeared to be too upset if hours were counted differently at different places. But at a lo-cal level, the ability to register time was highly important. Market times could now be established and enforced. «Neither priest, student, lay-man nor woman or man is permitted on the street after 11 o’clock» prescribed a 1385 edict in Cologne. Torture by the inquisition was only permitted at certain times. Knights were expected to appear at jousting tournaments punctually, «on the hour». In the 19th century the issue of working hours became a hotly contested political controversy. During the Napoleonic period it took the same amount of time – ten days – for a letter sent from Paris to reach Rome as it had done under the reign of Caesar. Shortly afterwards the invention of the steam en-gine was to change everything. Railway operations were dependent on precise measurements of time. But it was hard for a train driver to know precisely when he was supposed to steam out of the sta-tion. «Times of departure from Cologne, Koblenz and Dusseldorf shall be based on the chime of church bells. In this regard, the cathedral clock in Cologne, the clock on the Franciscan church in Dusseldorf and the town clock situated in the immediate vicinity of the post offi ce building in Koblenz shall serve as guidelines.» Plans to synchronise all local times with a universal measurement of world time came from the United States which still had a grand total of 71 different time zones for railway transportation right up to 1873. Today, the atomic clock ticks away and hundredths of a second are the difference between winning and losing, at least in the world of sport.

Most of the information in this article can be referenced in the book: Die Geschichte der Stunde – Uhren und moderne Zeitordnungen («The history of the hour – timepieces and modern chronological ar-rangements») by Prof Gerhard Dohrn-van-Rossum (Hanser Verlag, 415 p.).

Picture: The Zytglogge in Berne is a clock tower which was built in the Middle Ages (in 1218, to be precise) with a world-famous astronomi-cal clock and carillon.

32 | HUBER WATCHMAKING STUDIO

How people arrived at the notion of the hour.

Life without a watch is inconceivable. You’re out of it if you don’t live according to the times. You’ve either chosen to drop out, you’ve been thrown out or you’re simply out of it because of unemployment, sick-ness or old age.

In truth, that’s a devastating outcome after a 2,000-year-old struggle to gauge time.

In olden days, life was based on natural rhythms. No-one strived for precision, and few people cared about quantifi able productivity. People got up when the cock crowed at dawn and went to bed when the sky turned dark – so they slept longer in winter than in summer. Timekeeping was based on the sun, on shadows cast by the edges of buildings or on the shadows cast by people themselves. In Greece it was customary to arrange meetings when shadows were six, eight or ten-feet long.

Less talk of time, more talk of water.The medieval church faced a different problem. It knew that the San-hedrin – the high priests – had convened early in the morning; that the crucifi xion was set for the third hour; that darkness prevailed from the sixth to the ninth hour; that Jesus died at the end of the ninth hour and that he was laid to rest in the tomb before the sun went down. Obvi-ously, prayers had to be offered at these times. But when precisely? Was this to be made dependent on the burning of candle clocks? On the turning-over of sandglasses? In the face of this quandary an 11th century text on monastic life recommended: «The verger should set the horologium with the greatest possible care in the evenings.

In the morning he should get up and verify the time by the stars if the skies are clear. Once the time has come for his brothers to get up, he should open the door to the priory, light candles and adjust the clocks by pouring water from the smaller into the larger basin, by pulling up the rope and the lead weight, and by ringing the bell.» The crowing of the cock at dawn was also a great help if everything else failed.

Today, there is no doubt that the clergy were the inventors of me-chanical clocks. Astronomical clock dials and calendar discs stopped being immobile. They became a source of movement. Kings bowed their heads as they moved past the Virgin Mary; cocks spread their wings and crowed; and moving skeletons were an omniscient re-minder of the Grim Reaper. The new profession of the clockmaker or orologiarius emerged in 1270. But unlike clockwork mechanisms, the real technical sensation was a clock which chimed on the hour. It was considered a marvel of the age. In Switzerland, this kind of clock

33

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Men’s Classic WatchHole in one.

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34-35 | HUBER SPECIAL

There’s nothing like this.

The places where only the best measure up to each other: Baselworld and Salon d’Horlogerie SIHH. Take a tour of the fair with your guide, Juan Jolis, managing director of Huber Vaduz.Text Juan Jolis Photos Juan Jolis, Eva Engel

It’s the most important trade fair in the industry. Each year it attracts over a hundred thousand people from hundreds of countries. Basel-world, the annual trade fair for clocks and jewellery – traditionally held in spring in Basel – is approaching.

Spring in BaselOur preparations already begin 12 months previously. Simply reserv-ing the hotel rooms is an art in itself; and getting new or additional rooms is virtually impossible. To ensure that the fair runs smoothly we arrange dates with our suppliers. That, too, is a challenge. Over the entire year we acquire new suppliers based on recommendations and reports in trade magazines. At our own company we arrange staff cover and replacements for the busiest times of the fair. Means of transport (train or car), arrival times and parking spaces have to be organised. We clarify details of various evening invitations for our sup-pliers and confi rm them.

Then the preparations are complete. We arrive at the venue on the evening before so we can be the fi rst in the foyer, right by the entrance, when the fair begins. What really struck us: we’ve never seen so many representatives of the press around as this year. The fi nal seconds are counted down and at 9 o’clock on the dot (not a minute earlier) masses of visitors, including ourselves, rush towards their preferred manufacturers to fi nd out about all their latest products as quickly as possible. Incidentally, some highly reputable manufactur-ers also update their websites with their latest products on the stroke of 9 o’clock – once again, not a minute earlier!

This means that we start receiving the fi rst phone calls and SMS requests from our clocks and jewellery afi cionados (both enthusiasts and collectors) at about 9.15 am. Occasionally we get them even before we ourselves have been able to catch up on the latest devel-opments. I’m always amazed at that.

Picture: Juan Jolis, managing director of Huber Fine Watches & Jew-ellery, Vaduz,Liechtenstein.

The merry-go-round of labels keeps on turning.As ever, it’s virtually impossible to reduce up-and-coming trends to a

common denominator. The world of timepieces is and remains a place for individualists. In terms of materials, the watchmaking industry main-tains its preference for yellow, red and white gold, platinum, steel and titanium. Some manufacturers have successfully managed to try out new fusions of different materials and alloys, and some of these bring amazing fi nal results to light. Coatings and blacking in particular remain very much in favour among manufacturers of trendy and sporty ladies’ and men’s watches. Combinations of precious or rather cold metals with high quality gemstones such as diamonds, rubies, emeralds or sapphires, in all the colours of the rainbow, are applied to casings, straps and dials. «There’s nothing we can’t offer the customer» is our watchword if you’ll pardon the expression.

The shapes are still mostly circular or rectangular. A few of them are tonneau-shaped. Some of our manufacturers also come up with vintage models, and this, too, is refl ected in the choice of shapes and colours. There aren’t really any new complication watches. Even so, watches are showcased in a new guise with the aid of innovative technology. The calendar still displays the date, the day of the week and the month. Some of them even show the lunar phases. Despite all this there are always new forms of presentation requiring a large number of new patents and years of research. Steel, precious metals, leather and rubber are traditionally used for watchstraps. And there are no limits to the choice of shapes, colours and designs in this regard.

Without exception, our suppliers only use confl ict-free diamonds, different kinds of leather and reptilian products, etc., which have been produced and audited with international CITES certifi cates based on the Washington Convention. This is an absolute imperative on our part. We simply owe this to our natural environment and its resources.

Good things come in small packages. The Salon d’Horlogerie SIHH in Geneva.Unlike the Basel Watch and Jewellery Show, the Salon d›Horlogerie SIHH in Geneva is not open to the general public. It always takes place at the start of the year and is mainly held by the Richemont Group. There are not so many crowds surging through the corridors as in Ba-sel since the only visitors allowed are Richemont Group concessionar-ies who have to register and identify themselves at the entrance. Every now and then visitors come across a testimonial (or promotional am-bassador) such as the Swiss rapper BLIGG or Michael Schumacher. Obviously, the same can also happen in Basel.

Only the best is good enough.After this year’s fair most of the entire area will be refurbished so that it can appear in new splendour next spring. As a result, next year’s fair will be held at a slightly later date – on 25 April 2013. The construction project will take 13 months to complete and generate enormous costs on the part of the fair’s operators. The stand prices are set to increase by an eye-watering 20%. In the Basel-based TagesWoche newspa-per, an anonymous manufacturer wrote: «The Fair has to watch out that it doesn’t drown in its own arrogance.» As the most important fair in the industry it will not doubt be able to withstand such criticism. In any case, we’ll defi nitely be putting in an appearance there next time around.

36-37 | MEN’S CLASSIC WATCHES

A hole in one

You only have to consult a dictionary or read an encyclopaedia. «Clas-sics», we learn, are artistic or scientifi c achievements of creative peo-ple which intrinsically display all the characteristics of a masterful imag-ination. In regard to timepieces it doesn’t really matter if such mastery ostensibly refers to the external appearance or inner mechanism of any given clock or watch, although obviously it’s ideal if both these factors meet the highest standards. The timekeepers we present here pay homage to the fact that discerning contemporaries utterly reject ostentatious luxury and the fl aunting of status symbols because that sort of behaviour is completely out of touch with the times. Instead, they strive for distinct inner and outer values which only true connois-seurs are able to appreciate correctly. Genuine connoisseurs prefer to quietly celebrate the best that traditional watchmaking has to offer. And it’s hardly a secret that the label plays a signifi cant role in this regard. After all, and as we all know, it vouches for that quantum of excellence which makes the small but decisive difference. The fact remains that

classics like the ones presented here simply won’t survive forever. So they are eminently suited to be passed on as an inheritance from one generation of the family to the next. The next generation, or the one after it, even, is sure to be genuinely delighted by such a gesture!

Picture 1: Reference 5940 by Patek Philippe offers everything any-one could possibly desire: manual winding, a highly innovative drag indicator chronograph and perpetual calendar with a precision lunar phase display.

Picture 2: When it comes to tourbillon diversity Jaeger-LeCoultre is second to no-one. Its range encompasses every conceivable varia-tion and chronological complication. The latest addition to the portfolio consists of the «Master Ultra Thin Tourbillon», featuring the automatic calibre 982 which is only 6.4 mm in height.

Picture 3: The leader of Chanel is called J12. In the case of the «Chro-matic» with quartz or automatic movement an innovative blend of ti-tanium and ceramics ensures scratchproof hardness. Changing light conditions create a wide and highly attractive range of looks.

Picture 4: Panerai is virtually a synonym for diver’s watches. Nomen est omen – the name says it all in the case of the «Luminor Marina 1950 3 Days». Its specially manufactured manual winding movement P.3001 runs three days at a stretch. The steel case can withstand a water pressure up to 10 bar.

Picture 5: Never before in the history of Hublot has there been a chronograph with a self-winding movement, calibre HUB 1143, sur-rounded by a «Classic Fusion» case. Customers are spoilt for choice between titanium and 18-carat «King Gold».

Picture 6: «All praise to the little barrel» is the motto at Vacheron Con-stantin. This traditional manufacturer has continued the 100-year-old tradition of crafting watches in the classic tonneau shape. The golden newcomer with manual winding movement 4400AS is the embodi-ment of sheer understatement.

Picture 7: Cartier fi rst revealed its rectangular «Tank» to the world in 1918. It has gone on to produce all kinds of versions ever since. The latest is the «Tank Anglaise,» a masterful synthesis of tradition and mo-dernity. Naturally, it features automatic movement for men of the world.

Picture 5: If there was one wristwatch worthy of the exalted status of being a complete all-rounder, then it surely has to be the «T-Touch» from Tissot. Touch-control features include an altimeter, compass, thermometer, alarm and chronograph, all of which are complemented by a superb look based on a dragon.

Picture 6: The interior of the IWC «Spitfi re Perpetual Calendar Digital Date-Month» with self-winding movement is highly exclusive. It was developed, made and pre-adjusted in Schaffhausen. Your perpetual calendar requires no further manual adjustments until 2100.

Picture 7: Sleek, simple and yet so ingenious: the Rolex «Sky-Dwell-er» is an ideal watch to accompany you on your journeys. Features include a second hour hand, a 24-hour display and an innovative cal-endar. Any adjustments you’d like to make are child’s play.

40-41 | HUBER SPECIAL

TourbillonsTireless rotations for (all) time.

It’s almost hard to believe but there was no such thing as mass-pro-duced wristwatch tourbillons prior to 1986. In the following 26 years the precision-boosting rotary mechanism became one of the most popular complications of mechanical timepieces. And that’s why it’s well worth checking out history books and the latest collections.Text Gisbert L. Brunner

True men need to have ideas.«Nothing is as powerful as an idea whose time has come,» said no lesser a man than Abraham Lincoln, 16th President of the United States of America. When he fi rst saw the light of day in the federal state of Kentucky on 12 February 1809, a certain Abraham Louis Breguet had already realised a completely revolutionary idea for boosting the performance of chronological gears in mechanical pocket watches. What’s more, the French Minister of the Interior had actually honoured the stroke of inspiration by issuing a patent after probably the most important watchmaker of all times wrote a letter dated 14 April 1801 to «M. le citoyen ministre». This communication was accompanied by a «note... detailing a new invention which can be used for timepieces and which I have called a régulateur à tourbillon.» His remarks culmi-nated in a request to be granted «a design patent covering a period of ten years.»

The complex timepieces which were subsequently created on the basis of this patent assured absolute immortality and an undisputed

38-39 | MEN’S CASUAL WATCHES

Take a walk on the green side.

Long live sport! Not just when you’re in the stadium, or working out, or on an adventurous trek, but also on your wrist. Given this breathtaking selection of eminently wearable wristwatches to suit both sports and elegantly formal occasions, anyone incapable of fi nding the right mod-el only has themselves to blame. Those wishing to wear the heartbeat of human culture will opt for a conventionally ticking interior. And, of course, crystal-controlled chronometers also have their indisputable advantages. Electronics offer a unique range of functions that tradi-tional mechanics are unable to offer. Even so all the sports watches presented here have one thing in common. They all come from the very best establishments; they embody recognised quality; and as a result they ensure a long service life regardless of their conditions of use. Even though it might not appear so at fi rst glance, representa-tives of the fair sex also have plenty of choice. They’ve long discov-ered the benefi ts of robust timekeepers and are not put off at all by superfi cially masculine appearances. After all, decorating your wrist with eye-catching and exquisitely crafted adornments underscores the increasing importance of female hedonism. So why not ask your partner if you can wear his wristwatch every once in a while? Let’s face it, you’re very much your own woman! Not only in your professional life. But also in matters of sport. Of course you are.

Picture 1: The pioneer of eternally beautiful watches is called Rado. And the ceramic watchcase of the new «HyperChrome» resists anything that might cause scratches with ease. The version with an automatic chronograph and featuring calibre ETA 2894 offers all kinds of diversity.

Picture 2: The design of the new Saint-Imier collection is highly remi-niscent of the 1940s. The automatic movement with a control wheel chronograph, calibre L.688, is a ticking delight. Available exclusively from Longines.

Picture 3: Breitling’s «Transocean Unitime» exudes cosmopolitan fl air par excellence. The automatic calibre B05 comes with a smart time zone feature – made in-house, of course.

Picture 4: The precursor of the «Heritage Black Bay» diver’s watch from Tudor dates back to 1954. Its steel case has now grown to 41 mm and boasts a locking rotating bezel on one side. Your timepiece is waterproof down to a depth of 200 m. The automatic movement comes from ETA.

autonomy performs its pirouettes on the reverse side. You require a special invitation to see it under «reference 5101».

Picture 5: Mechanics voyeurs will be delighted by the «fl ying» tourbil-lon in the «Portuguese» by IWC. The enormous self-winding calibre 50900 with a power reserve display is artfully skeletonized, you see. After seven days a mechanism stops the clockwork.

42-43 | WOMEN’S WATCHES

Girls just wanna have fun.

Our compliments to you, ladies! Without you and your charming steadfast resolution, the history of the wristwatch might have turned out quite differently. After all, at the start of the last century the lords of creation weren’t the slightest bit interested in entrusting their precious time to a profane wristwatch. A pocket watch was perfectly adequate for all their requirements. So why bother to experiment? You, however, dear ladies, followed the latest fashions and chose your clothes in line with the latest trends. And what’s more, you found it highly im-proper to look pointedly at your watch during a tender rendezvous. So you turned away from the little timepiece attached to your brooch or chain. You were rational and forward-looking to call for discrete wrist-watches. Unfortunately you weren’t always treated with the goodwill you deserved by the watch industry later on. Frequently you were allocated smaller replicas of masculine models – what a disgraceful lack of imagination! Now, in the early 21st century, you and your spe-cifi c wishes for watches have fi nally been discovered. So take a look and be amazed by all the new watches out there for you. They not only come with quartz movements and precious stones, but also with exquisite mechanics. As a result, your preferences have been fully acknowledged – in every respect.

Picture 1: Only few women can resist the allure of the moon. Now they can always take the earth’s attractive satellite with them when they wear a «Classique Moon Phase» by Breguet. Made with the fi nest craftsmanship.

Picture 2: TAG Heuer also has its gentle and feminine side. The best proof of this is the «Link Lady» which was recently presented in Basel. It has a diameter of 29 mm or 34.5 mm. Quartz movements offer convenience. The case materials and precious stone decors leave nothing to be desired.

Picture 3: Omega delights the fair sex with «Constellation» and so-

place in posterity for Abraham Louis Breguet. 211 years after it was fi rst patented, the complex birthday child appears to be more popular than ever. Thanks to the renaissance of the mechanical wristwatch and growing desire for ever more sophisticated «complications» it has now achieved a degree of popularity and pervasiveness that no-one could have predicted. Even the ultra-precision of state-of-the-art quartz watches is powerless to alter this fact. Those who know how to make proper use of their valuable time can easily forgo a few seconds which hardly play a role in everyday life anyway. For one thing needs to be noted at this point with the utmost clarity: Despite its ingenious de-sign, the tourbillon cannot be considered a panacea for eliminating all the imponderables of conventional ticking clocks. In most cases, time-pieces with a tourbillon embody the highest levels of craftsmanship and are the epitome of high technology, too. Yet even they cannot nullify the iron laws of mechanics. This point should be borne in mind by anyone thinking of strapping an exquisite tourbillon to their wrist and following the tireless rotations of the fi ligree cage with shining eyes.

Some necessary technical remarks.Breguet can rightly be considered a genius when it comes to watch-making and craftsmanship. But he wasn’t a magician. With his razor-sharp mind he had found out that efforts to achieve an exact balance of the balance mechanism and spring could only be of a limited dura-tion. The troublesome centre of gravity error could not be eliminated on a permanent basis. So he mounted the oscillation and escape-ment system (i.e. the balance mechanism, balance spring and es-capement) on a moveable plate or in a fi ligree frame. Driven by the clockwork mechanism, the ensemble revolved around its own axis once a minute. In this way any errors constantly moved around in a circle. When the timepiece was placed in a vertical position ac-celerating and retarding momenta more or less cancelled each other out. If the mechanism ran at a higher speed during the fi rst half of the minute, it lagged behind in the second half by the same value. The gear achieved the desired consistency. Breguet was not interested in the vertical position; here, gravity only plays a subsidiary role.

In no way did tourbillons render obsolete the high degree of care required to design, build and adjust pocket watches. On the contrary, the manufacture of sophisticated revolving assemblies has always re-mained the preserve of the most outstanding watchmakers, because work on the fi ligree steel cage has always required – and continues to require – the highest levels of craftsmanship, even in the age of computerised production centres.

Picture 1: The date hand of the automatic calibre 978 by Jaeger-LeCoultre elegantly skips over the tourbillon during the night from the 15th to the 16th day of each month. Below the «12», a second time zone can be read from the dial of the Master Grand Tourbillon.

Picture 2: The King Power TOURBILLON GMT is the fi rst Hublot watch to feature a tourbillon which displays two time zones. Made in the special «King Gold» alloy with 5% platinum, the bicoloured time zone enables the wearer to read the time at any place.

Picture 3: The golden «Classique Complication» comes from the in-ventor’s successors. The automatic calibre 587 DR from Breguet manages to last fi ve days without requiring a boost of further energy. A power reserve display signalises the actual state of the tension spring.

Picture 4: Patek Philippe is a master of discretion because the tour-billon of the manual winding calibre 28-20/222 with ten days of power

Photo Huber Private Label Jewellery by Adolf Bereuter, Marilyn Mon-roe at Tobey Beach by Andre DeDienes

48 | HUBER PRIVATE LABEL

Love me tender.

«Love me tender», composed by Ken Darby and Vera Matson, sung by Elvis Presley in the eponymous fi lm made in 1956.

Picture 1: Wonderful necklace, unique piece, 95 cm, in rose gold with seven large baroque pearls, clasp paved in white gold with 37 diamonds

Picture 2: Tahiti multi-coloured pearl necklace, light grey to petrol-blue, fastener paved in yellow and white gold

Picture 3: South Sea pearl necklace, 11-12 mm diameter, fastener paved in white gold with diamonds.

Photo Huber Private Label Jewellery by Adolf Bereuter

49 | BEAUTIFUL

The fragrance of kings.Penhaligon’s – the power of scent.

Some perfumes are too good to be true. They awaken memories and open hidden doors to the subconscious.Photo Penhaligon’s

phisticated mechanics in the form of the co-axial calibre 8521. Its rotor automatically winds the mainspring by the natural motion of the wear-er’s arm. The qualities of the brushed 27 mm red gold case speak for themselves.

Picture 4: Feminine watches with automatic movement don’t neces-sarily have to be expensive. Frédérique Constant demonstrates this with «Black Beauty». Incidentally, this gorgeous watch with a mother of pearl dial and many diamonds also supports charitable projects.

Picture 5: Chopard makes you happy. «Happy Diamonds» and «Hap-py Sport» are now joined by «Happy 8». The number is no coinci-dence. In China it signifi es happiness and success. In old Europe the number 8 also stands for eternal female beauty, to which this quartz wristwatch now pays homage.

44-45 | HUBER PRIVATE LABEL

Diamonds are forever

Sung by Shirley Bassey and composed by John Barry and Don Black, «Diamonds Are Forever» is the title song of the eponymous James Bond fi lm made in 1971.

Picture 1: Pavé diamond ring in white gold, total 5.45ct diamonds

Picture 2: Solitaire diamond ring in white gold, diamond 5.07ct L VVS

Picture 3: White gold ring, Paraiba tourmaline 2.51ct, 2 half-moon dia-monds 0.79ct

Picture 4: Unique ruby ring in white gold, oval ruby 7.39ct, diamonds 1.73ct F VVS

Picture 5: Alliance ring in white gold, paved with 20 Princess dia-monds, 5.47ct G VVS

Picture 6: Alliance ring in white gold, paved with 15 diamonds 4.02ct G VVS, available in various sizes of diamonds

Picture 7: White gold ring, paved with pink tourmaline and two Mor-ganite gems, total 16.40ct

Picture 8: White gold ring, natural coloured Madagascar pink tourma-line 2.47ct, diamonds 1.10ct F VVS

Fragrances are like dreams – fl eeting and full of magic.Today, a fl acon of Penhaligon’s looks just as it did in Queen Victoria’s times. Its unmistakeable shape is an exquisite sign of luxury and dis-cernment in only the best bathrooms. Penhaligon’s perfume house was founded by William Henry Penhaligon in the late 1860s. The bar-ber from Cornwall who moved to London was a master of his trade. Not only did he have an enormous talent for beautiful fragrances and skin care products, he also harboured great ambitions. As it turned out, William Henry Penhaligon was appointed offi cial barber and per-fumer to the royal court in no time at all.

He opened his fi rst barber shop in Jermyn Street in 1870. At this address he enjoyed equal success with his classic shaving products and the perfumes he created. Penhaligon’s new scents were all the rage in high society. His illustrious clientele included dazzling fi gures such as Oscar Wilde and Sir Winston Churchill, and above all mem-bers of the aristocracy. His company went on to receive the royal warrant of appointment to Her Majesty Queen Alexandra in 1903, to His Royal Highness The Duke of Edinburgh in 1953 and to his His Royal Highness The Prince of Wales in 1988. Princess Diana loved Penhaligon’s «Bluebell». Margaret Thatcher and other modern icons including Kate Moss and Madonna were, and still are, delighted by the perfumer to the kings. All of Penhaligon’s fragrances and their extraordinary matching fl acons, unique labels and packaging are composed and made exclusively in England with the greatest of care and diligence.

Fragrances for all time.William Henry Penhaligon created his fi rst fragrance in 1872. He im-mediately achieved resounding success with Hammam Bouquet, which was named in honour of the famous Turkish baths in Jermyn Street, in London’s St James’s. Hammam Bouquet remained William Henry Penhaligon’s favourite scent throughout his lifetime. Famous wearers of this perfume in the 20th century included the Italian di-rectors Luchino Visconti and Franco Zeffi relli. Even today, Hammam Bouquet is still one of Penhaligon’s best-selling fragrances.

50-51 | ANNIVERSARY

Un grande amore. 20 years of Huber and Pomellato.

Eyes start to shine, voices wax lyrical and gestures become ever more fanciful. The air begins to vibrate when women talk about Pomellato.Photo Pomellato, Arno Meusburger

There’s probably not a single other jewellery manufacturer in the world which has brought so much delight to the ladies – and encouraged men to make them happy. One of the very few people who anticipated and recognised the way things were going at an early stage was Nor-man J. Huber, owner of Huber Fine Watches & Jewellery in Vaduz and Lech am Arlberg. «I still remember it all very well. I was in the process of looking for special pieces of jewellery. I felt that the ladies really wanted something new, something different. At the start of the 1990s I noticed that the current trend had reversed completely in favour of a style of simple jewellery which was genuine without being pretentious. Beauty was suddenly defi ned in a completely different way. I wanted to have something sensational to go in the display cases, in the shop windows. There was a demand for stylish jewellery that could be worn during the day and in the evening simply to emphasise and under-score the individual beauty of the wearer.» What drew the attention of Norman J. Huber to Pomellato at the time were its «King and Queen» pendants and its magical gold chains and bracelets. They exuded an elegant simplicity that hadn’t been seen before. «Our fi rst little Pomel-lato collections marked the start of a friendship and excellent rela-tionship which has now stood the test of time for a good 20 years. Pomellato has become a loyal, and indeed indispensable companion in our outlets.»

Pomellato constantly re-interprets jewellery while always remaining true to its principles. A large central moat links up the operational fi elds of the company’s head offi ce in Milan. Its tranquillity and simplicity of design provide the vitality and vigour which can immediately be felt in each new collec-tion. Several hundred employees work in 8,000 m² of offi ce space and production areas spread across four levels, all of which face the inner garden.

Pomellato is a brand which provides inspiration but can never be copied. Its success is based on passionate creativity and driven by the tradition of skilful Milanese goldsmiths combined with long-term strategic communications. Or as Pomellato’s long-serving and highly successful brand ambassador, Tilda Swinton, put it so beautifully dur-ing the opening of the world’s largest Pomellato boutique on Rodeo Drive in Beverly Hills in January this year: «I love Pomellato! They’re my friends. And their jewellery is so luscious, so gorgeous, it’s almost good enough to eat!»

Picture: 20 years of Pomellato and Huber were duly celebrated with champagne, sushi and exquisite items of jewellery in Lech am Arlberg. From left to right: watches and jewellery expert Norman J. Huber, Karin Williams, Francesca Sonoglio and Layla Bellezza from Pomellato Milan as well as managing director Roger Jacquat from Huber-Lech.

54-55 | ART

Summer of art.The hotspots in 2012: Bad RagARTz, dOCU-MENTA (13) and Art Basel.

Lovers of the fi ne arts are spoilt for choice this summer both regionally at Bad RagARTz and throughout Switzerland at Art Basel. Genuine highlights in the summer of culture also come courtesy of dOCUMEN-TA (13) in Kassel, Germany. All three exhibitions and the trade fair in Basel are an absolute must for art connoisseurs.Text Rebecca Testi-Marogg Photos Bad RagARTz, dOCUMENTA, Art Basel

On 12 May Bad RagARTz will be opening its gates for the fi fth time as an open-air exhibition which showcases outstanding examples of sculpture. Today, Bad RagARTz is one of the most important exhibi-tions of its kind. Organisers Esther and Dr Rolf Hohmeister are de-lighted by the high levels of recognition which their passion for art has brought to Bad Ragaz and Vaduz.

One of the most important exhibitions.400 works by 80 artists from 17 countries will be on display. And it’s not always easy to pick the best ones. «We get about 1,000 submis-sions. We think it’s important to send a personal letter to each artist whose work didn’t actually make it to the exhibition, thanking him or her for their involvement and commitment,» explains Rolf Hohmeister.

The exhibition of sculptures in Bad Ragaz and Vaduz has the great advantage of easing any kinds of inhibitions people might feel. You don’t have to go anywhere or pay an admission fee to see the works. You don’t approach the sculptures – they approach you.

«We’re very pleased that the sculptures will be erected here and are delighted to have Vaduz as a partner again,» says Rolf Hohmeister. «We’d like to integrate Liechtenstein as a friend into the triennale and underscore our friendship by making Vaduz a partner venue for the exhibition. Previous exhibitions have shown we’re getting it right: We have a very good partnership.»

No misgivings in the sculpture park.For the married couple it’s important that children also feel comfortable in the presence of art. Their idea was to include youngsters into the concept of Bad RagARTz right from the start. Guided tours for children are also planned for this year as they have gone down extraordinarily well in the past. Around 2,500 interested children attended the work-shops at the last triennale. «Just imagine. Even a school is working as

one of our partners this year – and entrancing a whole village in the process.» «For me it’s simply the kick of giving something to people, that’s what fuels my passion for Bad RagARTz. That’s what motivates me, that’s why I’m happy to do the paperwork and deal with all the other things involved,» says Esther Hohmeister. And you can tell she means it just by the look of enthusiasm on her face.

All eyes on Kassel.A further highlight for the art world is dOCUMENTA (13). dOCUMENTA is held once every fi ve years in Kassel. Just like the previous edi-tions, dOCUMENTA (13) will be staged for 100 days; this year the dates are 9 June to 16 September. One woman will be running the show which is now being staged for the thirteenth time since it was fi rst held in 1955: Carolyn Christov-Barkagjew is the artistic director of dOCUMENTA (13). She’s responsible for somehow meeting all the requirements of over 170 artists from all over the world at one of the defi ning exhibitions of contemporary art, and for ensuring that every-thing runs smoothly. For the artistic director, «dOCUMENTA (13) is a form of investigation and being dedicated to the materials. The show’s intuitive approach is shared by the artists it collaborates with. As a result, dOCUMENTA (13) will act as a stage, a forum which questions our take on modern life» promises the exhibition’s website. In keeping with tradition, the Fridericianum in Kassel remains the «main venue» and focal point of the exhibition. Projects will also be staged at the Gloria cinema and in Karlsaue park. A wide range of contemporary art will be represented at dOCUMENTA (13). Visitors can look forward to seeing installations, photography, video art and performances in addi-tion to sculptures and paintings. It’s probably best for visitors to go on one of the many guided tours in order to give the many different works on display the attention they deserve.

The whole world in Basel.The entire art world will be fl ocking to Basel from 14 to 17 June. For artists, gallery owners and collectors the world’s most important art fair is an unmissable event. This year, over 300 galleries from 36 countries will be displaying works by over 2,500 artists of the 20th and 21st century.

Founded by a group of local gallery owners, Art Basel was fi rst held in 1970 and has become the most prestigious art fair in the world. Every year over 60,000 artists, collectors, gallery owners, museum directors, curators and art enthusiasts set off on the pilgrimage to Art Basel. The exhibition has also set itself the task of including works by young artists in the works on display. What’s more, the exhibitors con-sist of the particular galleries representing the artists. The fair has been divided up into sectors, with the world’s leading galleries presenting their exhibitions in special art galleries.

Art journey

Bad RagARTz, 5th Swiss triennale of sculpture in Bad Ragaz and Vaduz from 12 May to 4 November. 400 works by 80 artists from 17 countries based on the theme: «Seeing value – value worth seeing».

dOCUMENTA (13) from 9 June to 16 September in Kassel. 170 artists showcase their work from each and every branch of contemporary art.

43rd edition of Art Basel, from 14 to 17 June at the Basel Exhibition Center (the Messegelände). 300 galleries present over 2,500 works by artists of the 20th and 21st century.

56-57 | WELL BUILT

Europe goes for a swim.Architecture built on water.

When architects play with water, light and the horizon, one of the pos-sible outcomes consists of bathing houses which were once regarded as temples of pleasure back in ancient times. Ancient Romans, em-perors, artists and people in search of recreation became captivated by such centres in the course of bathing history. Today they are more popular than ever.Photos Lang+Schwärzler, Frauenbadi, Drei Kaiserbäder

Stylish bathing at the lake.Badehaus at Lake Constance, Kaiserstrand Lochau, Austria.«We wanted to get panoramic views into the space,» says architect Theo Lang, referring to the Badehaus or bathing house in Lochau which latches on to the history and tradition of lakeside bathing on the Austrian shore of Lake Constance. Many of the magical wooden structures which once lined Lake Constance have disappeared. But not all. Even more amazingly, one such edifi ce was recently com-missioned – with astoundingly successful results. Guests staying at the Seehotel am Kaiserstrand wrap themselves in a fl uffy bathrobe in their room, squeeze a magazine under their arms and enter a different world at the end of a 42 m long wooden walkway. In the bathing house they receive a deckchair, towels and a sunshade before going off to fi nd a place «on deck». It’s a bit like being on a ship. Is the house mov-ing? No, it’s the fl uctuating level of the water on which the sun glitters. The Alpine panorama is breathtaking. The perspective is different, as if one was no longer part of the scene.

As if one was far away. Ah, the feeling of release! The fragrant smell of fi rwood blends in with the lakeside breeze and summer. There’s no wet grass, no revolting gooey mud to get between your toes and no laborious inching forward over sharp stones when you dive effortlessly into the waters of Lake Constance from a fl ight of steps. Spa havens may be relaxing, but swimming in what used to be a glacial lake in-variably gives you a «back to Mother Nature» feeling – particularly in drinkable, 22 °C warm water.

Designed by the renowned fi rm of architects Lang+Schwärzler from Bregenz, the bathing house emerged with the commission to refur-bish and re-open the Kaiserhotel. It was only a vague idea at fi rst but it quickly took tangible form. In actual fact Lochau once had two bathing houses – one for the hotel, the other for the general pub-lic. They were demolished in the 1940s and provided the space for what is now the new building. It received the 2011 Vorarlberg Timber

Construction Award just after it fi rst opened. Untreated local fi rwood from the Pfänderstock mountain district dominates the building on the water. The folding façade plays an elegant game with the interior and exterior, enabling users to enjoy discreet views and vistas, sealing it-self off when required or extending an open invitation. A sleek single-storey cube rests on 30 stilts and a reinforced concrete platform. Lang+Schwärzler were familiar with historic bathing houses which in particular had a gable roof. The architects opted for a sun deck with wooden podiums. Showers, changing rooms, lockers and sanitary rooms enhance the bathing experience. The environmentally friendly ventilation system with heat recovery ensures that the café restaurant, which is also open to the public at weekends during winter, can swiftly be heated to room temperature. Furthermore, the all-round glazing offers views of the lake, the shore and the Alps, making this place an ideal, all-year-round venue for weddings, classical music and jazz concerts, barbecues, champagne receptions, fashion shows, read-ings, theatre performances and, of course, for bathing.

58-59 | WELL BUILT

In the heart of the city on the river.Frauenbadi at the Stadthausquai, Zurich, Switzerland.Originally built at the site of Zurich’s Stadthausquai – or «Town Hall Quayside» – in 1837 as a «small bathing area for females,» the Frau-enbadi is one of the most amazing places which Zurich has to offer. The last wooden bathing hut, preserved in its original style, is moored on the banks of the River Limmat.

Blue and white striped cabins and curtains, classical music and a little library create a unique atmosphere in the idyllic bathing centre which is only open to women during the daytime. On the one hand, the 31 m long non-swimmer’s pool in the inner courtyard is protected from prying eyes. On the other, the 4.5 m deep swimming pool is part of the outdoor area – swimming in the Limmat is strictly forbidden due to boat traffi c. Here, outside, a good many female sunbathers may attract looks from day-trippers on cruises, but women are completely undisturbed in the protected part of the complex.

The bathing area is less well suited for children – there’s no slide or diving platforms – but it does offer superb opportunities for women to relax and enjoy long talks with their best friends. A juice bar, a bathing shop, massages, shiatsu and qi gong cultivate the feeling of well-being. The pool used to be covered by a woven roof so that users could remain pale, which was considered a sign of noble beauty at the time. Yet attitudes towards physical beauty were changing, and an open sun deck was already built out in front at the start of the 20th century. The offi ce buildings soon cast long shadows in the evening.

This is when men are allowed in – but only in their socks or barefoot, so as to protect the wooden grate. At 8 pm the Frauenbadi turns into a barefoot bar. Since 1997 it has opened «only for women and men» from mid-May to mid-September, and is now considered a major at-traction of the city. It’s easy to soothe the soul when you’re sitting on the duckboards with your feet in the Limmat and with a cocktail glass or a bottle in your hand. The bath house by the river was built by Ar-nold Geiser and is sometimes – though incorrectly – associated with the Jugendstil style of architecture. Geiser was appointed head of city architecture in Zurich in 1875 and held this position for 32 years. He worked with others on building the opera house, the Tonhalle concert hall and the Kunsthaus museum of art, and is considered a repre-sentative of historicism. The end of the historicist movement in 1895 marked the beginnings of the Jugendstil which continued to use or-namentation though without making explicit historical references. With the oriental curves of its corner turrets, today’s bathing centre is a later structure which dates back to 1888. In the middle of the old part of the city, set in front of a striking Classicist façade, the Frauenbadi looks like a perfect little world.

Pearls in the sea.Three imperial spas on the island of Usedom, Baltic Sea, Germany.On the German-Polish island of Usedom the longest beach prom-enade is lined with three imperial spas in Ahlbeck, Heringsdorf and Bansin. Their impressive piers, hotels and villas were built in the late 19th and early 20 century when the prosperous middle classes, the nobility and the moneyed aristocracy arrived to take their summer breaks. They went to an enormous amount of trouble and expense to show off their affl uence: French Renaissance mansions, magnifi cent Classicist edifi ces, enormous fl ights of stairs, high arched windows, marble columns, ornate gables, wrought-iron balcony railings, balus-trades, fl ourishes, verandas and pillars sprang up from the ground, predominantly in white, which is why the spas are also known as «white pearls». The façades in olive green, Bordeaux red, beige and blue appear charming and graceful for this very reason. There’s no uniform style. Nothing is the same and yet everything forms a coher-ent whole. Perhaps this is why the style is simply known as «imperial spa architecture». We all know the pier in Santa Monica with its car-ousel. In one sense its German equivalent is the historic Ahlbeck pier. It achieved nationwide fame with the release of the fi lm «Pappa Ante Portas». Memorable scenes include the ones in which Heinrich Lohse, played by Loriot, celebrates his mother’s 80th birthday, Grandpa Hop-penstedt rinses the soup out of his tie and the mayor behaves dis-gracefully like almost all the others: «Hedwig, you’re the randiest thing I’ve ever come across between Heringsdorf and Borkum.»

Countless superlatives testify to the amazing qualities of this part of the world: it is Germany’s most popular holiday destination; it records the most hours of sunshine in the country; it has the longest prome-nade, the longest coastline, the longest pier and a remarkable number of famous guests – a veritable «Who’s Who» of fi n-de-siècle celebrities went for strolls here and indulged themselves in idleness, rest and recreation. In 1820 this was where Kaiser Wilhelm I would take his af-ternoon tea on the veranda; the composer Johann Strauss had barely departed when his Austrian «colleague» Emperor Franz-Josef arrived 80 years later. The painter Lyonel Feininger steamed in from New York and Kurt Tucholsky just missed out on meeting Maxim Gorki. In 1924 Thomas Mann went for a walk with his wife Katja and children along the promenade and found inspiration for his «Magic Mountain»; after-wards, he added the fi nishing touches to the fi nal chapter of his roman du siècle at «Haus Seeblick». Here he also fi nally became reconciled

with his brother Heinrich after years of bitter disputes. Theodor Fon-tane in particular enthused about the wonderful things the imperial baths offered him and transplanted his Effi Briest in the dunes where she regular met her offi cer: The half-wintry November sun shed its fallow light upon the still agitated sea and the high-running surf. Now and then a puff of wind came and carried the spray clear up to the table. There was lime grass all around, and the bright yellow of the im-mortelles stood out sharply against the yellow sand they were growing in, despite the kinship of colours. Ef� played the hostess. «I am sorry, Major, to have to pass you the rolls in a basket lid.»

60-61 | VIP – VERY IMPORTANT PARTY

Hublot in VaduzClassic fusion in Vaduz. Hublot, roasted chest-nuts and fondue in the Städtle.

Gold with a lacing of platinum. Fire and ice, melded together. Roasted chestnuts and a deliciously aromatic fondue. After work, Norman J. Huber and his team invited guests to the Huber winter lounge for a very special pre-Christmas celebration in December 2011. The event featured a presentation of classic fusion by and with Hublot. A product innovation that has to be seen to be believed: King Gold – gold with a lacing of platinum.

All eyes were on Hublot’s unique and instantly recognisable watches which were showcased in specially animated display cases. Within a period of just 30 years the Hublot company has worked hard to earn its place in the upscale luxury segment. Hublot, or «porthole» in Eng-lish, delights a growing number of enthusiasts across the world with its unconventional choice of materials and, together with Huber, was itself delighted by the many guests who showed up in the Städtle in Vaduz.

OPENING TIMES

Interim shop Städtle 36Mon-Fri 9 am – 12 noon1.30 pm – 6.15 pmSat 9 am – 4 pmClosed on Sundays and public holidays

T +423 237 1414F +423 237 1410welcome@huber.lihuber.li

Rathausplatz 111 April – 31 October:Mon-Fri 9 am – 6 pmSat 9 am – 4 pmSundays and public holidays10 am – 3.30 pm

T +423 237 1424F +423 237 1420welcome@huber.lihuber.li

Lech am Arlberg28 June – 22 September:Mon-Fri 10 am – 12 noon2 pm – 6 pmSat 10 am – 12 noon2 pm – 5 pmClosed on Sundays and public holidays

T +43 5583 3737F +43 5583 3737-10welcome@huber-lech.athuber-lech.at

LEGAL NOTICE

Publisher with responsibility for content: HUBER Watches JewelleryNorman J. HuberIm Städtle 369490 VaduzPrincipality of Liechtenstein

Concept and editing:Agenturengel, Dornbirnagenturengel.eu

Design:Screenlounge AG, Vaduzscreenlounge.com

Contributors to this edition:Gisbert L. Brunner,Hasan Cobanli,Eva Engel,Martin Johler,Irmgard Kramer,Rebecca Testi-Marogg

Advertising desk:Aurel Huberaurel.huber@huber.li+423 237 1414

Print run:14,000For our customers and friends

Printed by:Lampert Druckzentrum AG, Vaduzldz.li

Cover photo:Bob Leinders, leinders.com