While the UR-102 is rightly acknowledged as the watch with which Urwerk announced its avant-garde philosophy to the world in 1997, the UR-101 was in fact what designer and artist Martin Frei and third generation watchmaking brothers, Felix and Thomas Baumgartner had in mind as their inaugural piece. However, in their view, the design demanded a case made from precious metal – yellow gold to be precise. Their shoestring budget at the time meant they lacked the funds to purchase bullion to create the case, and rather than compromise on their vision, they chose instead to launch with the UR-102, which wore a stainless steel case during the launch at the_ _Académie Horlogère des Créateurs Indépendants (AHCI)booth at Baselworld in 1997.
The initial sales of the UR-102 enabled the team at Urwerk to purchase the yellow gold with which Thomas, a skilled fabricator, brought Frei’s design to life. It was inspired by the Millennium Falcon from Star Wars, a franchise that all three were greatly fond of. Like the UR-102, the UR-101’s minimal wandering hours time display was faithful to the papal night clock the Baumgartner brothers had seen their father restoring at his workshop. It draws a link from a 17th century clock, designed for Pope Alexander VII by the Rome-based Campani watchmaking brothers, to the present day.
Measuring almost 38mm across, it was similar in its dimensions to the UR-102. However, it’s spaceship form – marked by the top lug located in-board of the form of the case and the tapering lugs on the bottom of the case – makes it visually distinct. The rounded, pebble-like shape is such that the case flows to the bottom lugs almost seamlessly. The overall appearance is almost organic, as if the UR-101 were shaped by the sands of time. The screwed down, unsigned fluted crown complements the simplicity of the case.
The minimal display, inspired by the earliest measure of time based on the position of the sun in the sky, is marked by four quarter hour graduations and four markers in between these for additional visual reference. The scale is achieved on a brushed surface, with a similar finish framing the minimal, red digital hour display. It is underpinned by the Felix’s Maltese cross module that helps advance the discs on which the hours of the day are etched.
The monobloc-style case meets the faceted caseback, with the two halves secured by six screws. The caseback is vertically brushed, and features the precious metal hallmarks. More notably, it features a ramp-shaped plinth, with an almost imperceptible curvature to it. This considered detail means that on the wrist, the UR-101’s display is raised, meeting the eye of the wearer without the need to angle the wrist when consulting the time. The raised detail is where the single-digit serial number – #3 – is etched by hand. In fact, in contrast to Urwerk’s avant-garde designs and modern manufacturing methods now, much of the brand’s earliest output was created by Thomas’ hands using traditional tools.
The top lugs are secured by screws. The watch comes fitted with a brown, alligator-grained leather strap and a long, sculptural rose gold pin buckle. Powering it is a self-winding èbauche calibre, topped with the wandering hours module. This UR-101 has been freshly serviced by Urwerk and comes with paperwork attesting to this.
While the brand initially – and rather uncharacteristically – planned for up to 500 examples of the UR-101, in the end only a tiny fraction of that number were produced. Its rarity, together with the fact that it represents the birth of one the first and most original independents, makes the UR-101 exceedingly collectible.
If sold within the United Kingdom, this Urwerk UR-101 will be subject to 20% VAT