Contemplating TAG Heuer men's SLR Calibre S laptimer 2008 edition for Mercedes-Benz
May 2009
Who is Edouard Heuer?
Where in Saint-Imier Switzerland did Edouard Heuer live?
What can be considered a TAG Heuer watch?
Did Edouard Heuer get most of his inspiration from the city where he started his watchmaking shop, Saint-Imier Switzerland?
Around the area of Saint-Imier there is no sea. What was the reason for Edouard Heuer to engineer a watch that indicated the sea tides as well as the moon tides?
What was it about his watchmaking skills that made him create a watch that had sea and moon tides indicators?
What was it with time as a concept in Saint-Imier? Were the people there so fascinated by time, being able to watch time exist on a TAG Heuer watch?
How important was it for people in Saint-Imier back in 1860 to know the tides of the moon?
What is that people did when they knew full moon was coming within a few weeks? What was it that they started to prepare for?
Was it a fun activity for children to see time passing by on a watch back in 1860?
Was it a fun activity for the children in Saint-Imier because there were not as much as exciting things to see or to do compared with the children who lived in bigger cities?
Is one of the reasons why Edouard Heuer engineered watches that were very accurate because timekeeping was one of the few fun things to do in Saint-Imier for adults? Meaning, if there are only a few things to do in a region the people there start to get skilled in those things that are available, e.g. because mountains have snow one who lives in a snow area will quicker become skilled or at least has better opportunities to do so than someone who live in North-Africa, a sandy region without snow.
What is it about being able to catch 1/10th or 1/100th of a second on a wristwatch that makes it even more fun for adults than it is for children nowadays while measurements of 1/1000th of a second are normal and have been there for a long time?
Why not release all the functionality of TAG Heuer watches back on today's market but for a price that can be paid for by a larger group of people?
What further market demands will come from that, a broader audience that start to wear those TAG Heuer watches and use their functionality?
Could it perhaps be that, e.g. a carpenter will ask the TAG Heuer Corporation for some functionality, will lead to new ideas and innovation for the TAG Heuer designers?
How can you be so sure that it would not?
Can you really oversee all; do you have Edouard Heuer's innovative spirit? Edouard Heuer had a clear field in front of him when he started the innovation of his TAG Heuer watch, nothing to fall back on. Do you have that same drive, vision and openness to innovate?
If so, think of three things that have to do with time that are important for a carpenter.
Would, these three things be e.g.; the time it takes to let glue dry, the time of the season that certain trees have the proper moisture ration in them to cut those trees, functionality on the watch that would allow how many nails should be hammered in a construction for it to be finished before sundown?
Where did Edouard Heuer buy his bread?
Was it always the case that he bought his bread at this bakery?
If someone wanted to steel some of Edouard Heuer's innovations, where then was that one place that Edouard Heuer had some chitchat with one or more shop owners that he visited for his daily needs?
Were there in Saint-Imier any other watchmakers?
Who of those watchmakers was the first to settle in Saint-Imier?
When did Edouard Heuer move to Saint-Imier?
Was it because Saint-Imier was visited by many tradesmen that Edouard Heuer decided to set up his watchmaking shop there?
How intense was the rivalry/competition among the watchmakers in Saint-Imier and how was it in the whole region?
Was it a case of making sure you had the best watch to sell to survive in the watchmaking district of Saint-Imier?
If it was the case, that prior to Edouard Heuer's founding of his watchmaking shop in Saint-Imier there already were watchmakers in that city or region, what then was it that Edouard Heuer thought he would make it as a watchmaker there?
When did Edouard Heuer start to focus on making precise watches?
Was there really a need for watches to indicate the correct time?
Was a watch, as it is today, also an object of class/style and luxury besides the use of knowing what time it is?
If Edouard Heuer would have had TAG Heuer's SLR in those days, what would this have meant for his watchmaking shop?
What would this have meant for other watchmakers in the Saint-Imier region?
If today's TAG Heuer's SLR is viewed upon regarding its innovation, how much innovation is there really in the SLR compared to the watches Edouard Heuer made in those days?
Is TAG Heuer's SLR made, or better said, does it originate from the same visionary and innovative mind like Edouard Heuer's in those days?
What can be said of TAG Heuer's SLR design today compared to the days of Edouard Heuer? How much progressive is TAG Heuer's SLR design compared to the watch designs of Edouard Heuer?
Which of the watches Edouard Heuer made needed/demanded more skill and innovation to come up with than is the case with TAG Heuer's SLR?
Is it not the case that Edouard Heuer could not get innovation and designs from other watches in those days because there weren't that many and certainly not in Saint-Imier or in its region?
How honest was Edouard Heuer about where he got the ideas for his watch designs?
And what about the technique he used for his watches?
If presented to the bakery, that he often visited, what would the baker say when Edouard Heuer would present him TAG Heuer's SLR?
Which watchmaker would the baker name which had made a similar design?
Would this watchmaker perhaps be Seiko?
Do any of today's watchmakers find their origin in the Saint-Imier region?
Has there ever been a project that Edouard Heuer and any other watchmaker worked on together?
Edouard Heuer's passion for watches is much praised these days but were his watches in those days the only innovative watches on the market?
Were they also the most precise watches?
If so, what was the second best precise watch in those days?
If precision could be measured, how big was the precision of Edouard Heuer's watches compared to the watchmaker that stood on second place?
Describe those aspects that made Edouard Heuer's watches more precise in those days?
Where did the watchmaking passion, of the watchmaker who stood second place, came from?
Was it the case that Edouard Heuer has always been fascinated by time?
If so, where could he go to feed/satisfy his fascination for time?
How common were watches in those days and what did the future of the watch look like with regards to watches?
Was durability one of the aspects that made a watch a bestseller or were people used that a mechanical object, in this case a watch, would have a life span of six months?
Were the people used to go to a watchmaker for their watch to be adjusted/fixed/calibrated of some sort?
If so, what effect did this had on Edouard Heuer with regards to his vision his passion of what a watch should be like?
Would Edouard Heuer have favoured Seiko's kinetic technology over the precision mechanical winding technology?
If Edouard Heuer was asked to comment on Seiko's kinetic technology, what then would his comment have been like?
Would Edouard Heuer consider the mechanism of a watch being as important as the result of that mechanism, i.e. precise and durable?
If Edouard Heuer would be given the option of using a battery instead of a mechanism to use for the watch to operate, which technology would he prefer?
Does TAG Heuer's SLR use a battery to operate?
Is it possible to implement Seiko's kinetic technology in TAG Heuer's SLR?
Which of the watches that Edouard Heuer made would he use to test the battery technology with?
Did Edouard Heuer listen to his customer's wishes regarding the things that they needed to do for them to keep the watch operable?
Of all the watches Edouard Heuer made, which one comes closest to the design of TAG Heuer's SLR?
How much would Edouard Heuer push for cooperation between Seiko and TAG Heuer?
What will be his main reason to do so?
If compared with one another, which watch would he prefer TAG Heuer's SLR or Seiko's Velatura SRH005PL?
Which of those two watches would Edouard Heuer consider to represent his passion for watchmaking?
Who in the TAG Heuer Company has the same drive as Edouard Heuer?
Who in the TAG Heuer Company would consider Seiko's Velatura SRH005PL to be what Edouard Heuer would consider a magnificent watch?
What did Edouard Heuer thought of the watches he made compared to the ones from his competitors at those days?
How many times did he buy one of his competitor's watches to see what the quality was of their clock mechanism?
Was Edouard Heuer frightened of competitors making a better watch then him?
When walking in Saint-Imier what was Edouard Heuer's behaviour towards competitor watchmakers when he ran in to them in the street?
How many times did his competitors have asked Edouard Heuer to come and work for them?
How many times sought Edouard Heuer craftsmen at his competitors to come and work for him?
Did Edouard Heuer have enough technical skill to construct the clock mechanism he wanted?
Was it more a supervisory task he had when his watchmaking shop was running well and lay the real skill that at his employees from those days?
What was the next best thing besides watchmaking that needed skilled people who could construct delicate mechanisms?
Were any of such activities performed in Saint-Imier or in its region?
Were any of such activities performed in Switzerland?
Was Edouard Heuer ever asked by other companies to come and work for them because of his skill to construct delicate but accurate clock mechanisms?
Did people in general have a sense for quality in those days?
Were people very critical about the food they ate?
Were they critical about the clothes they wore?
In which part of the population did people have a sense of quality?
Were there any people in the knife making business that could judge the quality of Edouard Heuer's clock mechanism?
Which of the tools, Swiss knife makers used in those days, were also used by Edouard Heuer?
Did some of the tools Edouard Heuer used for his clock mechanisms made by him?
Which parts of the clock mechanism he engineered can also be used in today's TAG Heuer's SLR?
In which way will TAG Heuer's SLR change in a functional way if this will be done?
Which parts of the clock mechanism used by Edouard Heuer did he let specifically construct by other skilled craftsmen?
Which of the watchmakers did Edouard Heuer respected for their watchmaking skill?
Which of the watchmakers did he not considered to be of high quality regarding their clock mechanism?
What was Edouard Heuer's concept of quality regarding watchmaking?
How important would he consider watch design?
Would Edouard Heuer prefer design over a clock mechanism's precision?
What did the critics say regarding Edouard Heuer's watchmaking skill?
If analysed, how much criticism was regarding Edouard Heuer's person and not about his watchmaking skill?
Did critics question the need for the clock precision Edouard Heuer equipped his watches with?
What would his critics say if he would have presented them TAG Heuer's SLR?
Who in those days would have been able to grasp the concept of 1/100th of a second if Edouard Heuer would have used TAG Heuer's SLR 1/100th clock mechanism in one of his watches in those days?
Where would the 1/100th clock probably have been used in those days?
Where was it that such 1/100th timekeeping was needed? What about the processes in factories?
Would Edouard Heuer have presented 1/100th timekeeping at the bakery in Saint-Imier to use in his backing processes?
What industries were present in Saint-Imier when Edouard Heuer founded his watchmaking shop there?
Was there any military industries that could use such 1/100th timekeeping mechanism?
In what way would children in Saint-Imier have responded to the 1/100th timekeeping mechanism when they would be confronted with it?
Would Edouard Heuer have presented TAG Heuer's SLR 1/100th clock mechanism as being something to amuse people, a toy for grownup people?
Were the people in Saint-Imier clear of mind to understand, to grasp, the concept of the 1/100th clock mechanism if they would have been confronted with it? If not at first instance, what about one or two months after they would have been presented the 1/100th clock mechanism of TAG Heuer's SLR?
What kind of man was Edouard Heuer? Was he someone with an innovating mind?
What was the situation in Europe during the period at which Edouard Heuer founded his watchmaking shop in Saint-Imier?
Was it an innovative period, a time at which people's minds opened for new technology and what could be done with this?
If so, in what other fields besides watchmaking were quality technologies being developed?
Where were those industries located? In city areas, country areas, Southern Europe, England?
What was the reason for these new technologies to immerge, for people to engineer such technologies?
Compared to these other new technologies, where can Edouard Heuer's quality watchmaking be placed looking back at those days?
Was his watchmaking technique unique?
Was it exceptional enough for people to pay a price that was higher than other watches of those days?
Were watches and other kinds of jewellery, besides clothes, something that people looked for to look more beautiful at the time when Edouard Heuer founded his watchmaking shop?
If so, was this one of the reasons for him to found his watchmaking shop?
Did people really care about the precision of the watches of those days?
Did farmers care for it? What about ordinary people in the street? What about people in the government?
If it can be said that the people who had a higher social status were the ones who would care for such clock precision at those days, why then would ordinary people nowadays care for 1/100th clock precision in their watches when people have been accustomed now to microseconds and even smaller time periods?
Which of the watchmakers of Edouard Heuer's time would have been able to grasp the concept of TAG Heuer's SLR 1/100th clock mechanism and precision when Edouard Heuer would present it to them?
Which of those watchmakers would already have thought of the concept of constructing a watch that is able of presenting its owner 1/100th of a second timekeeping?
How come these watchmakers already had thought of the 1/100th clock precision?
Could it have been that Edouard Heuer's idea of clock precision was not solely a characteristic that was present in him but also in other watchmakers of those days?
Was it that Edouard Heuer simply had the skill to produce watch mechanisms that were very precise?
Which of the watchmakers near Saint-Imier were close in almost making watches with the same precision like Edouard Heuer's watches?
Did these watchmakers ever talked it over with Edouard Heuer of launching a joint venture?
If not, was this because of the pride of these watchmakers not to team up with one another?
Was it really that Edouard Heuer was one of the very few watchmakers of those days that had a passion to construct watches that had high quality and precision?
What was it that Edouard Heuer did to construct watches that had a high precision and quality?
Did he often go out in the region of Saint-Imier to search for materials that he could use in the mechanisms for his watches?
Was it during this regional roaming that he often would lose his key to wind his watch that he engineered a winding construction that did not need a key to wind the clock mechanism?
Could it have been that when Edouard Heuer founded his shop he was just an ordinary watchmaker who did not have any particular ambition, perhaps none, to create watches that had exceptional precision and quality?
Could it have been that he focused on watch precision and quality after some years he had founded his shop?
Could it have been that his drive to engineer clock mechanism that were precise and had high quality came to mind because of something that happened during the times that he was roaming the river banks near Saint-Imier?
What was Edouard Heuer's favourite season of the year?
Was it spring or winter?
In which season of the year were people more focused on time than other seasons?
Where could Edouard Heuer often be found during that season of the year?
Did he always wonder outside the shop to go and talk to people who were quite busy with time when this season of the year was ongoing?
Was it only in Saint-Imier that people where for an important part focused on time this season of the year or were there regions that people were even more focused on time?
If so, could it have been that Edouard Heuer was triggered on engineering precise and quality watches during his visits of such places?
Could it have been he met ordinary people who were so passionate about time that he was touched by it and that that experience never left him?
Was it during these meetings that it came to his mind to start focusing on watchmaking?
Where could one go to find new ideas for watch design?
How would the people, Edouard Heuer would have met in such places, have responded if he would have presented them TAG Heuer's SLR?
What would these people say about its overall design?
What would these people say about its revolutionary design?
Is it true that TAG Heuer's SLR design is not revolutionary compared to the TAG Heuer watches of those days?
Craftsmanship stood high in those days, was it not? Was it not Edouard Heuer's craftsmanship that largely contributed to his watchmaking success?
What craftsmanship can be found in TAG Heuer's SLR design?
If given the tools, that are used to make TAG Heuer's SLR, to Edouard Heuer, would he have come up with the same design?
If given the tools, that Edouard Heuer used to build his watches in those days, to the TAG Heuer designers of today, with what design would they come up regarding the TAG Heuer's SLR?
Is Edouard Heuer's design mostly coming from the materials he used to make his watches?
Is there really a difference in which Edouard Heuer could influence/shape the material he used for watchmaking compared to the TAG Heuer designers of today?
Was it mainly that Edouard Heuer's imagination, regarding watchmaking, was solely depending on the material he used?
Did it largely depend on the tools he used during those days?
In what way was Edouard Heuer letting his watch design depending on what people considered to be what beauty in a watch was in those days?
If so, what was a beautiful watch? What was a lesser watch design?
Was this also what Edouard Heuer thought a beautiful watch design was and what not?
What was really needed to be a successful watch designer in those days?
What is really needed to be a successful watch designer today?
Would Edouard Heuer often consider the taste of his customers, regarding watch design, to be one that was somewhat objective?
Has it ever occurred in Edouard Heuer's days of watchmaking that he found that his customers had a better understanding regarding watch design than him?
If so, did this happen in the beginning of his watchmaking career or at a later stage?
How well connected was Saint-Imier in those days regarding the trends and fashion in major cities like London and New York?
How was watch design influenced in those cities? Was it similar as in Saint-Imier?
Did Edouard Heuer have a handicap that limited him in handling his watchmaking tools?
If so, could it have been that this handicap resulted in a negative effect on his watchmaking capabilities?
Could it have been that this handicap resulted in a positive effect on his watchmaking capabilities?
If it had a negative effect, in what way could the watchmaking process of TAG Heuer be influenced in such a way that the same negative effect can be gotten?
If it had a positive effect, in what way could the watchmaking process of TAG Heuer be influenced in such a way that the same positive effect can be gotten?
In what way is the design of TAG Heuer's SLR influenced over time?
What was the major industry that influenced the TAG Heuer SLR designers?
Did this influence have anything to do with the TAG Heuer designers' lifestyle?
What was the lifestyle of Edouard Heuer?
Was it totally different than the lifestyle of his competitors? Who was his competitor in those days?
Was the overall design of Edouard Heuer's bestselling watch so much different than his competitor's bestselling watch?
If there was a big difference, in what way was this difference an output of both watchmakers' lifestyles?
In what way was the design of TAG Heuer watches more important than the accuracy of their watches?
Did TAG Heuer customers buy TAG Heuer watches because of their accurate time indicating capabilities?
If so, in which industry were TAG Heuer watches more used than in other industries simply because of their accuracy?
What was the function of the design of the TAG Heuer watches in those industries that people wore a lot of TAG Heuer watches?
Was the design of the TAG Heuer watches, back in those days, part of the functionality, the reason so to say, why the TAG Heuer watches were used in those industries?
Was the need for watches with a design like that of Edouard Heuer's already a need in those industries before Edouard Heuer started his watchmaking shop?
Was it because of this need that Edouard Heuer started to make his watches?
Is the reason for today's TAG Heuer's SLR design the outcome or response so to say to a demand from the market?
Which market is that?
Was this market also present when Edouard Heuer started his watchmaking shop?
If TAG Heuer's SLR was presented in the market/industry of those days in which TAG Heuer watches were widely used, what then would have been the added value of its design to the people who wore/used TAG Heuer watches back in those days?
Can it be said that the industry in that case would have had a lot more competitive power to operate in their market?
If so, how come Edouard Heuer never introduced such watch design to such customers before even if the customer's request was quite a revolutionary one in the watchmaking business?
Which are the markets today in which TAG Heuer watches are used because of their accuracy?
What are the markets today in which TAG Heuer watches are used because of their design?
Has it ever been that when the market did not care, or at least did not gave so much, about the design of the TAG Heuer watches, the TAG Heuer designers still gave the watches for those customers a nice design?
At what point in time in the entire existence of TAG Heuer has it ever been the case that predecessors of TAG Heuer's SLR were released on the market with a design that was not quite finished?
What was the reason for this?
Did Edouard Heuer ever bring a watch onto the market that he considered not to be finished fully?
Was this because he lost inspiration in how to finish the watch?
Was this lack of inspiration because he could not bring the accuracy of his watches to a higher level?
Could it be Edouard Heuer came to a point at which he seriously doubted to keep up with making changes to his watch designs?
If so, what was the reason for this?
Was it because he was always down to earth regarding his watchmaking business? Or should the question be: was it because he considered the design of the watch to be less important compared to the accuracy of the watch?
Was it design or accuracy that Edouard Heuer's watches were known for?
Is it true that when watches in general became more accurate in timekeeping that watch design started to become more important?
If so, when exactly was it that design became more important because the accuracy of watches in general was pretty much OK?
Probably every product that people consider to be their personal asset, also have a group of users who considered the predecessors of the modern ones much better because of their technique or because of their design compared to the ones used today. Which TAG Heuer watches were always the first choice for people to buy even though TAG Heuer already released newer models?
Which of the SLR models were models that had a special thing that made those models a success?
Are any of those special aspects of the previous SLR models implemented in today's SLR?
How much of those special aspects of all TAG Heuer SLRs are a direct result of the notes that Edouard Heuer made during his watchmaking career?
Has Edouard Heuer ever tried to implement the writings he made in his notes into a certain TAG Heuer watch? Which model was this?
Is it that Edouard Heuer already thought of today's TAG Heuer's SLR back in his watchmaking days?
Is it a strange thing that someone like Edouard Heuer could have thought of TAG Heuer's SLR?
What could have been the major reason that he could not have engineered the watch in his own days that he decided to log it in his notes?
Was it pure the technique that he lacked to make today's TAG Heuer's SLR in his days?
In what way could it have been the lack of proper watchmaking material?
In what way could it have been the lack of manufacturing techniques that give the watch its SLR-look?
Let's say Edouard Heuer already started to experience that he was not unique anymore in making watches that were quite accurate during his watchmaking career. Was putting the focus on the design of his watches a logical step?
What requires more technical skill, making accurate watches or giving the watch a beautiful design?
In what way needed to be made a compromise between one another by Edouard Heuer when making his watches?
Can such a compromise also be found in the watches of TAG Heuer today?
Is the reason for making a compromise between accuracy and design in the days of Edouard Heuer the same as it is for the watchmakers of TAG Heuer's SLR?
Is there a watch Edouard Heuer made in which he could fully engineer the watch he wanted and at the same time give the watch the design he wanted the watch to have?
Which of his competitors also succeeded in doing this?
What was it about this watch of Edouard Heuer that made him not having to make a compromise between accuracy and design?
Which compromise can be found in TAG Heuer's SLR?
What was it that these compromises had to be made?
In what way is the accuracy of TAG Heuer's SLR the result of a compromise because of its design?
If there is a compromise between the accuracy of TAG Heuer's SLR and its design, is it then that the design favoured over accuracy because no one really uses the accuracy in daily life anymore because there are other time systems for processes and sports where accuracy is really a need?
If TAG Heuer would cut thirty percent of the accuracy given to its SLR, what then would be the impact of that cut to the SLR's user?
What would be the impact of that cut to TAG Heuer's SLR market value?
What would this cut in accuracy mean when comparing the resulting accuracy of the SLR to its competitors? Would the SLR still be the most accurate watch in its class even with the thirty percent cut in accuracy?
If so, what is that makes competitors watches still less accurate compared to the SLR with a thirty percent cut in its accuracy?
Is the answer that is really the high level of Swiss TAG Heuer engineering that is so good that no other watchmaking company comes close in producing watches with the same accuracy?
Or can the answer be that TAG Heuer's competitors simply favour design over accuracy that no one really uses today, accuracy that nowadays is more of a gadget?
In some way it can be said that people today choose their watch in the way it looks is it not?
What was the reason why Edouard Heuer's customer wanted to buy one of his watches?
Was accuracy in Edouard Heuer's days a form of status to which people appealed?
If that is the case, what would Edouard Heuer's customers make when he would present them with today's SLR of TAG Heuer?
Would the elegance of TAG Heuer's SLR be something it could compete with considering the elegance of the watches Edouard Heuer made?
In what way would Edouard Heuer change the SLR when it comes to its accuracy before offering it to its customers?
In what way would Edouard Heuer change the SLR when it comes to its design before offering it to its customers?
Would customers be more amazed by the SLR's accuracy or by it design?
Does being impressed by TAG Heuer's SLR design and finding the watch elegant the same?
What is elegance?
Does elegance mean that all aspects of the watch, that is all aspects of the watch that are meant to make the SLR beautiful, are all very well aligned with one another?
What aspects are parts of the elegance of TAG Heuer's SLR?
Are these the same aspects that Edouard Heuer used to give elegance to his watches?
Name a few of Edouard Heuer's aspects that he used to give elegance to his watches.
Name a few of aspects of TAG Heuer's SLR that TAG Heuer uses to give elegance to the SLR.
Name a few aspects that are used by Seiko to give elegance to its Velatura SRH005PL.
Are a few aspects that are used in TAG Heuer's SLR colour, delicate materials, metal shapes, positioning of the letters and numbers, colour highlights, special manufacturing techniques?
Are these aspects the main aspects of TAG Heuer's SLR?
What would Edouard Heuer indicate as being those aspects that makes TAG Heuer's SLR TAG Heuer's SLR?
What would Edouard Heuer indicate as being those aspects that makes Seiko's Velatura SRH005PL?
Which of the aspects used in TAG Heuer's SLR were already implemented by Edouard Heuer in the watches he made?
Which aspects are not physically related but philosophically that Edouard Heuer used in his watches?
When was it that Edouard Heuer started to implement these philosophical aspects into his watches?
Did he start with implementing these philosophical aspects from the beginning when he founded his watchmaking shop or was it at a later point in time?
Could it have been that he had to implement these philosophical aspects in his watches when he found that his competitors were also started to implement them in their watches?
Was it because Edouard Heuer thought that all the watches were starting to look alike that he started to think, and by thinking he found philosophical aspects that he wanted to implement in his watches from that point on because with these philosophical aspects he could give the watches he wanted to make and his own brand the identity that made a TAG Heuer watch a TAG Heuer watch no matter what watches his competitors were manufacturing?
Was the accuracy that Edouard Heuer strived to because he was involved in a race which watchmaking manufacturer could make a watch with the best accuracy?
Did he ever have help when it came to engineering clockwork that had certain accuracy?
Was the help Edouard Heuer sought mainly because he did not know, at a certain point in time, how to improve the accuracy of his watches, or was it because he knew how to engineer the clockwork he wanted but he was short in manufacturing capabilities?
When was it that designers of TAG Heuer's SLR looked over the fence of Seiko to come up with ideas to implement in the new release of TAG Heuer's SLR?
Is the drive and capability of one man who founded his own watchmaking shop needed to lead the TAG Heuer Company towards the future when it comes to designing the SLR?
What is really needed to design TAG Heuer's SLR?
Is the designing process of TAG Heuer's SLR today done by one person alone?
If so, has it ever been this way or was there at some point in time a group of designers who were working on the SLR?
Did the amount of TAG Heuer designers working on the design of the SLR depend on where the current SLR design stood compared with the design of other competitors of TAG Heuer's SLR like Seiko's Velatura SRH005PL?
Has there ever been a point in time, in recent years, that TAG Heuer could release a new SLR that had a revolutionary design, but was not released because the competitors of the SLR did not even came close to its current design? Meaning, why play your cards if there is no need to do so?
How did Edouard Heuer implement the designs he made in his watches? Meaning, did he implemented the new design straight away or did he waited with implementing the new design when there was no need to do so from a competitor's point of view, a strategic point of view so to say?
In what way can a watch's design become strategic strength, so to say?
How easily can a competitor copy the design to its own watches?
In what way does the technique from the clockwork, influence the design?
Is it possible that the clockwork of a watch is adding to the design of a watch once it is advertised how marvellous the technique is that is used in that watch, without even changing the design of that watch?
In what way is it possible for a watch designer to get in line with the state-of-the-art technique that is used in that watch?
If a watch is equipped with a state-of-the-art clockwork, how then to present that fact to a customer, and how can that customer make clear to the people who see him with that watch make sure that these people understand that this watch has a state-of-the-art clockwork without the customer telling it to these people?
What were the ways Edouard Heuer made sure that mainly from the appearance of the watches he made sure people could see that his watches were equipped with state-of-the-art clockworks?
Is one of the main things Edouard Heuer could do to let people know that his watches were equipped with state-of-the-art clockwork simply by making the body of the watch transparent?
Were there any such materials at hand that Edouard Heuer could use to design a watch that had a transparent body which made the state-of-the-art clockwork visible to anyone who saw the watch?
What other ways, besides demonstrating the state-of-the-art clockwork of his watches, did Edouard Heuer had to let people/customers know that his watches had a high accuracy clockwork?
Could this have been an issue that Edouard Heuer thought of during his watchmaking career?
Is there something in his notes that tell that he was occupied with solving/working on such an issue?
If looked at the models he made at that time, what then can be said about the quality of the clockwork of those watches? Were they all equipped with a high-quality clockwork?
What can be said of the design of those watches?
When looked at those watches, does it show that at some point Edouard Heuer made strong improvements to the design of his watches?
If so, at which model was the design-change noticeable?
What is the time span in which these models were made?
Can it be said, when looked at the models Edouard Heuer made, when he started to pay more attention to the design of his models?
When was it in Edouard Heuer's watchmaking career that it became clear to him that producing watches that had high quality clockworks was not enough to make people wanting to buy the TAG Heuer watches?
When was it that Edouard Heuer started to translate the state-of-the-art clockwork, he equipped his watches with, into a certain watch design?
Was one of the thirst design aspects he used simply using text to indicate what the watch was capable of?
When was it that Edouard Heuer expressed to his relatives that he concluded that the design of a watch had to be the embodiment, the face so to say, of the watch that reflects the state-of-the-art technique of the watch?
Can it be found in the notes of Edouard Heuer that he ever was tempted to give one of his watches a design that expressed as if the watch was one of good quality but in fact the watch was not of such which the quality suggested?
Is it true that watch design can be as the clothes of people: people can look very good as if they are rich, have status, are good in their work, are honest, etcetera, but in fact people can camouflage with their clothes that they are not what they pretend to be?
If so, how did Edouard Heuer handle this fact?
Technique and watch design, how to work with these to aspects of a watch?
What are the tools that can be used to create a watch's design?
Has Edouard Heuer ever experienced that people were more interested in the design of his watches than the quality of the clockwork because a watch's design is much easier to be used as lifting one's status since that is what people can see and it is not something that is hidden like the quality clockwork of a watch?
Did Edouard Heuer ever experienced that people specifically came to him with the request to create a watch that had a stunning or particular design? If so, what was the reason for that customer to come up with such a request?
How many times has it happened that a customer came to Edouard Heuer with the story that that customer's status was totally broken down at some high-class-party because his watch was equipped with a low-quality clockwork, which for some reason became obvious to all people on that party while in fact the design of that customer's watch was stunning?
How soon did Edouard Heuer found that the design of a watch is only of any value when the watch's clockwork does not have any malfunctions?
How well will a watch sell nowadays when the clockwork of that watch is state-of-the-art but has poor watch design?
Can it be that that poor design of that watch at first is considered by customers as being something that they do not want to get seen with but overtime changes and that same watch with its poor design but state-of-the-art clockwork becomes a watch with a state-of-the-art clockwork and a very good design without even changing the design?
If so, it this then because when people see that watch and they know that it has a state-of-the-art clockwork, which they value very much, they simply accept that poor watch's design as being the face, the brand or mark so to say, that is the expression of that state-of-the-art clockwork, the expression and quality of that watch, the brand or mark of that watchmaker...the expression of the TAG Heuer Company?
Is it true that a watch can have a poor design?
What is considered poor watch design?
Is it the materials that a watch is constructed of?
Is a poor watch design being characterised by design issues that are without status in the circles of the high-society?
If so, is it then true that a poor watch design is or can be an objective issue?
Did it ever come to a point where Edouard Heuer tried to implement the materials that were design materials for his clockwork engineering?
What materials had he used before applying such design materials?
How did the implementation of these design materials, by Edouard Heuer, affected the accuracy of the clockwork of his watches?
Did these materials have a positive effect on the accuracy of his clockwork?
If not, was it because these design materials were simply too expensive to be implemented because of the amount of the labour he had to put in to it?
What kind of design materials are directly implemented in the clockwork of TAG Heuer's SLR?
Can the implementation of these design materials also be seen when one is wearing TAG Heuer's SLR?
If so, is this then also the reason for using these design materials in the SLR?
If not, why then use these design materials in the clockwork of the SLR if no one can see them from the outside, meaning, without opening the watch?
Are these materials there to add to the total exclusivity of TAG Heuer's SLR?
If so, did these design materials had to be altered before they could be implemented in TAG Heuer's SLR?
What design materials is Seiko using in its Velatura SRH005PL?
Has Seiko ever used these materials because they were simply needed to construct a type of clockwork that could not go without?
What was the reason for this?
Whenever will become colour a part of clockwork design that simply cannot be left out?
Is this the moment that the clockwork becomes visible when TAG Heuer's SLR is worn?
When is it important to use design materials in the clockwork of TAG Heuer's SLR while at the same time these design materials cannot be viewed from the outside?
Name two situations related to the engineering of the clockwork?
Name two reasons related to the quality of the clockwork?
Name two reasons related to the commercial strategy?
Can implementing design materials in the clockwork of TAG Heuer's SLR have anything to do with prestige?
What could such prestige be about?
Can it be about that it tells something about the high level of skill the TAG Heuer Company has when it comes to engineering and designing exclusive watches such as TAG Heuer's SLR?
Is it for the people at TAG Heuer's marketing a strong card they can play when TAG Heuer is succeeding in implementing design materials in the clockwork of the SLR that all watchmakers know of is a hard thing to do?
What examples of implementing design materials in the clockwork of watches did Edouard Heuer have in his days?
Before Edouard Heuer started his watchmaking shop what kind of design watches could be bought?
How many of them were Swiss made?
Did all Swiss watches of those days have an overall characteristic?
If so, what was this?
Where did implementing this characteristic in the Swiss watches come from?
Was it anything about business philosophy to implement this type of characteristic also in other products like e.g. Swiss army knives?
If this typical Swiss characteristic will be left out of Edouard Heuer's watches, what then will his watches look like?
Will they look like they are not fully finished from a design point of view?
Can another characteristic be used to replace the typical Swiss characteristic that was removed?
What is a typical Swiss characteristic?
Is a Swiss characteristic always a national characteristic of Switzerland or can it also be a regional one? Perhaps the region of Edouard Heuer's competitor in Switzerland?
Is a Swiss characteristic always bound to the land itself or can it also be linked to an overall Swiss characteristic in the mentality of the Swiss people?
Can such a question only be answered if a watchmaker is starting to think of the type of watch he is going to create?
Was it not that TAG Heuer's SLR was designed after Mercedes' SLR McLaren was released onto the market?
Could it have been that Mercedes already asked the TAG Heuer Company to design a watch that had characteristics of Mercedes' SLR McLaren?
If so, what information did Mercedes provide TAG Heuer with?
Did the information the TAG Heuer SLR designers got from Mercedes was enough to design TAG Heuer's SLR or at least enough to start the design of TAG Heuer's SLR?
What was the information the TAG Heuer SLR designers got? Was it an artist impression of Mercedes' SLR McLaren? Was it the specs of the engine that Mercedes was going to put in the SLR?
What does a TAG Heuer watch designer really need to design a watch?
Is it necessary to know all the aspects of the object that that designer is going to design a watch for?
Was it really necessary for the TAG Heuer SLR designers to actually drive in Mercedes' SLR McLaren?
If so what did driving Mercedes' SLR McLaren had to do with the design of the watch that they were looking for?
Is it all about the TAG Heuer designer getting inspired by the car that that designer is going to design a watch for; in this case Mercedes' SLR McLaren?
Could such inspiration simply not be gotten by looking at a photograph of Mercedes' SLR McLaren?
Is it not true that the answer to that question is; that it depends on the TAG Heuer designer itself?
Which sports cars were around when Edouard Heuer was at the peak of his watchmaking business?
How many watches were already designed that had their design linked to one of those sports cars?
Who designed those watches that had a design that was linked to those sports cars?
If looked at those sports cars and the watches that were linked to them, what then can be said of the similarities between the designs of those sports cars and the design of the related watches?
If looked at those sports cars and the watches that were linked to them, what then can be said of the similarities between the characteristics of those sports cars and the characteristics of the related watches?
Was it the difference between the design of a sports car and the characteristics of a sports car?
What aspects of a sports car are parts of its design?
Are a few of those e.g.; its colour, the design of the wheels, the windshield, the amount of break horsepower, the sound, the steering wheel?
What aspects of a sports car are parts of its characteristic?
Are a few of those e.g.; its handling on straights, its handling in corners, the top speed, the design materials used for the interior, the design of speedometers and other instruments that are part of the dashboard?
Can it be said that an aspect of a sports car design is always a physical aspect and that an aspect that is part of the characteristics of a sports car is always a non-physical aspect?
What problems might arise when a TAG Heuer designer must design a watch for a sports car that is not performing according the standards of a sports car, a good sports car, should be capable of while the quality of the TAG Heuer watches, like design, accuracy, durability, comfort, clockwork, are exceptional good?
Would such a mismatch interfere with a true watch designer's designing skills? Meaning, how will an aspect of the bad performing sports car be translated into a quality aspect of the watch that needs to be designed since the watch designer has no intention of giving the watch a poor design.
How will a TAG Heuer watch designer translate the non-equal power output of the sports car's engine into the state-of-the-art clockwork that TAG Heuer is known for?
Will the TAG Heuer designer reduce the quality of the clockwork to match the low quality of the power output of the sports car?
Let's say for a moment that that is the case. What part of the clockwork must be changed to match the poor power output of the sports car's engine?
Is this the part that Edouard Heuer also would choose if he would have been asked to lower the quality of the clockwork to match the poor quality of the sports car's engine?
Can it be said that it tells of the high level of skill the TAG Heuer designer is possessing when that designer exactly knows which part of his quality clockwork he must adjust, and in which way, to achieve an equivalent poor quality of the clockwork that matches the poor quality of the sports car's power output?
Is that true watch design, or in this case, true clockwork engineering?
Could the TAG Heuer designer also predict how the clockwork work will perform once it is implemented in the watch that is to be linked to the sports car with the poor power output of the engine?
Is it possible that a sports car is produced that has a poor power output of its engine but lasts a long time before it breaks down? Meaning, that the sports car's engine has a poor power output but is still very rugged and will not break down no matter how rough you treat the engine or in what conditions you letting the engine perform to its max?
Has it ever been that Edouard Heuer changed the clockwork of his watches to a lower quality?
When designing the clockwork of a new watch, has it ever happened that Edouard Heuer used an older type of clockwork for this new watch?
What was the reason for doing so?
Does using an older type of his clockwork mean that this older type of clockwork is necessarily a clockwork of poor quality?
If a TAG Heuer engineer would use today's TAG Heuer's SLR clockwork for a watch that he designs seven years from now, does this then mean that the clockwork of today's SLR is one of bad quality seven years from now?
If so, why is its clockwork not of poor quality today?
Is a better question; is today's TAG Heuer's SLR clockwork not considered being of poor quality today because it is considered the best there is today, the best that TAG Heuer can make today?
Does it automatically mean that if TAG Heuer designs a clockwork seven years from now that has a very good quality, one that could not be made today, that this automatically means that today's clockwork of TAG Heuer's SLR is one of poor quality?
Does it make any sense when reasoning in the way it is done in the previous question?
Let's reason the other way around; could a TAG Heuer designer feel good using the best clockwork for a watch that will be linked to sports car that has an engine with a power output that is of very high quality?
If so, what is that makes this TAG Heuer's SLR designer feel OK about using TAG Heuer's best clockwork for this sports car with a high-quality engine?
Could such a sports car be e.g. a formula one car?
If so, would it be a formula one car from the seventies or a formula one car of today, 2009?
Would that TAG Heuer watch also be characterised by something similar like the huge tires of the seventies formula one sports car?
Is the reason for the TAG Heuer designer to feel OK about using its best clockwork for the sports car with a high-quality engine because it is the best clockwork TAG Heuer can produce?
If so, is it an objective thing for the TAG Heuer designer to feel OK about using the best clockwork TAG Heuer can produce simply because it is the best clockwork TAG Heuer can produce today?
Is it an objective way to say that it can be the case that TAG Heuer simply does not have a clockwork that can be put in a watch that will be linked to Mercedes' SLR McLaren?
Is tuning the clockwork of watches a thing Edouard Heuer was really found off?
Was it always a thing that he wanted to do ever since he started his watchmaking shop, that is, making high quality clockworks for anything that had to do with car racing?
What was the level of the car racing industry when Edouard Heuer started his watchmaking shop?
What was the level of the car races when Edouard Heuer started his watchmaking shop?
Which sports were already at a high level if compared to what they are today?
How often did Edouard Heuer visit sports matches?
What kinds of sports were held around Saint-Imier where his shop was located?
If most sports were only related to the snow and the mountains what then is needed for one to design high quality clockworks to be used for timekeeping in sports related to snow and mountains?
Were there a lot of race cars around in Saint-Imier during spring and summertime?
What about in fall and winter?
If there was not much car racing around the area of Saint-Imier where then should one have to travel to within Switzerland to experience car racing?
Could it have been that Edouard Heuer started to get interested in engineering high quality clockworks for the car races because at car races there more and more became the need to accurately measure each participant's time because they were always very close to each other when finishing, making it hard to tell which participant ended on which position?
Up to what extend did Edouard Heuer start to get interested in sports that were always in some way strongly related to glitter and glamour?
Was it that it was largely around such sports that he could find customers that could appreciate the high quality and accuracy of the clockworks that he engineered for his watches?
Could it have been that sports like car racing were more about prestige, success and quality than it is today?
Could it have been Edouard Heuer got involved in timekeeping at car races not because he was looking for customers to sell his watches to but because he was looking for businesses in which it was all about getting the best performance?
If car racing at those days was largely about performance, quality and durability, what other products could then also be found at racetracks in those days?
Anything that was related to Edouard Heuer's watchmaking business?
Was it all about products that solely had to do with the race cars? What about the tools that were used to prepare the race cars?
How about clothing for the race car drivers?
Helmets and gloves, glasses for the drivers, shoes and engineered drinking bottles for the drivers in their race cars, doctors and ways to transport them around the racetrack, reporting gear for journalists, tire manufacturers, fuel suppliers, merchandising for spectators, food and drinks for spectators, broom suppliers to get their brooms to be used to clean the racetrack, etc.
What were the products that were crucial for car races at those days?
What was needed to win a race?
What is needed today to be sure who finishes at which position?
What was needed back then to be sure to determine who finished at which position?
When was it that sponsoring a race car became an important part for businesses? What was it that made them enter the world car racing as a sponsor?
Was this solely because of the many spectators that came to car races?
Was it merely because of the kind of people who came to car races; thrill seekers, speed fanatics, car lovers?
What remains when leaving all things out such as, glitter and glamour, spectacle of car racing and the entire racing event, the status of people (who feels important and who is not), etc.
What remains when only looked to the pure sport of car racing? Is this the performance of a race team; how skilled are they to prepare their race car, how good can they adjust their car to a racetrack, how well can they handle their tools?
What remains when only looked to the race car itself? Engine performance, road stability, corner handling, durability, differential, high-tech materials, fuel consumption, quality of the speedometer, quality of the oil pressure system, exhaust, driver's comfort, ability to handle the steering wheel, the race car's looks, its sound, stiffness of its main chassis, ability to overtake, breaking power, reducing the drag behind the car, performance in the rain, protection it gives to the driver, etcetera?
To what does this all add up to? What is the result that counts in car racing?
Is this not the time in which a race car driver completes the race?
Is this not the only result that counts: how quick one finishes the race; time?
Can it be said that with all the technology that went into race cars when Edouard Heuer was doing his watchmaking business, the entire performance of a race team, its driver and their race car was expressed in one thing: time, that is, lap times and the time needed to finish the race?
What do lap times tell about a race car driver's performance?
What do lap times tell the race car engineers?
What do lap times tell the race car driver itself?
How important was it back in those days that a driver could clock his own lap times while driving the race car?
How important was it for the teams that they also could clock the lap time of their driver?
Why was it important that the team and their driver clocked the exact lap time?
Did Edouard Heuer ever consider the importance of time within car races?
Was it that he witnessed that timekeeping in car races was a much higher requirement than it was at other sport at that time?
What was the sport in Saint-Imier that came close to the timekeeping requirements within car races?
How often did Edouard Heuer went out to visit car races?
Where did Edouard Heuer go to find inspiration to engineer precision clockworks for his watches?
Was it during a certain period of the year that he went out into the mountains to behold the clouds in the sky?
What could his own watch do for him when he climbed the mountains?
How often did he think about how to translate the precise activity/coordination of a race team into the clockwork of his watches?
Was there a precise coordination in those days of car racing? Perhaps the only precise coordination could be found in the skills of the race car driver?
How many times did Edouard Heuer analyse the coordination of the team and their race car driver to achieve their goals?
Did he in some way seek to translate such coordination into the clockwork of his watches to engineer a precise clockwork for his watches?
A race team consists of several parts; team members, a driver, their race car and the coordination between these parts, is it not?
Was Edouard Heuer so impressed in the way these main parts - team members, the driver, their race car and their coordination - worked together to achieve one goal; victory, that he also started to think about engineering his clockwork in such a way? Meaning, to translate the main parts like the team members, the driver, their race car and their coordination into the parts of a new clockwork?
How long were the walks of Edouard Heuer when he walked the mountains of Saint-Imier?
Could it have been he also found answers in nature to questions in how to engineer such a translation?
If looked at how he engineered his previous clockworks, what then can be said about the main parts of those clockworks?
Was there a lot of margin to adjust his clockworks to get a clear distinguish in subparts of the clockwork that he could label as being representative enough to, e.g. the race car and another subpart as being the representative of the team members or just one of the team members?
What was Edouard Heuer's secret in engineering high precision clockworks for his watches?
What was it about watches in which he had deep insight? Meaning, was it e.g. in the functioning of certain parts of the clockwork that he deeply understood and therefore could control it the way he wanted, somewhat similar in which a race car driver knows his car and can control it.
What were the limits Edouard Heuer encountered when trying to implement the similar subparts of the race teams into his clockworks?
Did such an implementation meant that he had to completely redesign his clockwork?
If so, what was it about his clockwork engineering that he had to completely redesign it to implements the subparts form the race team?
What was the difficulty in achieving such an implementation of those subparts?
Did Edouard Heuer had to do a lot of calculations to know how he had to engineer parts of the new clockwork that was to be used in the watch that would resemble the race team, the driver, the race car and their coordination?
Was Edouard Heuer himself a good mathematician? What about a good physic?
What is needed to engineer a high precision clockwork in the days Edouard Heuer was doing his watchmaking?
Was it about using the materials for the clockwork that would not easily wear out?
Was it all about using the proper springs within the clockwork?
Was it about using different materials for the clockwork to able to compensate for changes in temperature in the mountain areas; relatively cold when the sun is behind the mountains and a lot warmer when the sun is above the mountains?
In what way did Edouard Heuer test which weather type influenced the precision of his clockwork?
Would it have helped if he would have had TAG Heuer's SLR with him?
Would he have been able to use parts of the SLR's clockwork to overcome the problems he had with his current clockwork?
Which parts of TAG Heuer's SLR clockwork was Edouard Heuer able to engineer and produce himself? If not producing it himself, then perhaps visiting a hardware specialist that could produce it for him?
Was it not that products that were produced in Switzerland were known for their precision and quality already in the days Edouard Heuer had his watchmaking shop in Saint-Imier?
Is making a precision clockwork all about using parts for the clockwork that are characterized by their precision by which they are produced?
What is the difference between preciseness of a part and the preciseness of parts working together within the clockwork?
Was does it need for one to engineer precision clockworks in the days of Edouard Heuer?
Was it really needed for someone to have talent to become such a good watchmaker like Edouard Heuer?
Is becoming a good watchmaker something similar as becoming a good painter when looked at those days?
Was it that Edouard Heuer learned the craftsmanship of watchmaking in a school that was totally dedicated to watchmaking?
Name the craftsmanship that was closest to the craftsmanship of watchmaking in Saint-Imier?
Where was it that studying maths was situated compared to the craftsmanship of watchmaking in the days of Edouard Heuer?
What other craftsmanship where practised in Saint-Imier besides watchmaking?
What craftsmanship were practised that led to the full embodiment of the watchmaking craftsmanship?
Which of the craftsmanship closest to the watchmaking craftsmanship was practised by Edouard Heuer?
Which was practised by his strongest competitor?
Which craftsmanship in Saint-Imier would require a lot a creativity to be present in a person for that person to become skilled in that type of craftsmanship?
Could such a person, with that level of creativity, have helped Edouard Heuer for him to engineer a clockwork that had parts that resembled the race team, the driver, the race car and their overall coordination?
Was such a person enough of a visionary to think out of ordinary life's perspectives at that time?
Would it in general be harder to think in a visionary way in those days than it would be today?
Is it possible for a person to think in a visionary way in Saint-Imier without attracting too much attention of the church and consequently imprisonment?
Was it that Edouard Heuer could design far more revolutionary precision clockworks but because of the risk of imprisonment by the church he did not do so, he kept a low profile, and designed watches that were accepted by the mainstream of society and focused solely on the precision of clockworks and the design of his watches?
Let's forget a minute if it was a risky business to design watches that had revolutionary clockwork and bring the focus back again to Edouard Heuer trying to engineer a clockwork that had parts that resembled the race team, their driver, the race car and their overall coordination. Did Edouard Heuer ever look deep in nature for him to find solutions on how to come up with such a clockwork design?
What were the hobbies of Edouard Heuer?
Did he practise these hobbies for him to improve his watchmaking skills?
In what way did he raise his children?
What was the most important thing in designing watches that he told his children?
In what way was Edouard Heuer sensitive for the type of mentality one needed to show to the outside world to be successful?
Would the clockwork of Edouard Heuer reflect what his view was when it came to how to run a watchmaking business?
If so, in what way did Edouard Heuer make his business view, his philosophy so to say, visible in the clockworks he used for his watches?
What is the difference between making his business view visible in his clockwork and making the race team (the team members, the race car and their coordination) visible in his clockwork?
Which part of the clockwork has a similar function as the race team member who changes the left front wheel of the race car during the pit stops?
If Edouard Heuer cannot find a part in his clockwork that resembles that race team member, which part then does he need to turn forty-five degrees to get a better resemblance with that race team member?
What is it that makes these forty-five degrees turn of that part give a better resemblance?
What resemblance will this part in the clockwork get when it is not turned an amount of degrees but is toppled over in a vertical way?
In what way did Edouard Heuer let the design of his clockwork influence the design of his watches in total?
Which watch was it that he worked on that he desperately tried to reengineer the clockwork for this watch because the clockwork did not fit in the body of the watch he designed?
What did Edouard Heuer use to design watches? Did he simply picture the design of the watches in his mind? Did he use paper?
What could his wife tell about what Edouard Heuer did when he encountered problems when designing watches?
Was it that he often went out for a walk-in Saint-Imier? How long did he spend on such walks? How many times did he visit the market area when his mind was troubled on finding a solution for his design problems?
When was it that he used the rocks that he saw when walking the mountains of Saint-Imier that he pictured the rocks as the parts of the clockwork he was working on to find answer?
Is it strange if he had used rocks to get a three-dimensional setup of his clockwork to try and find the problem?
Is it not true that nowadays when engineering objects engineers use a lot of software programs that allow them to get a three-dimensional image of the object they wanting made to find any problems or simply to get a better concept of part that they are designing?
How long has such three-dimensional programs already been around among today's engineers?
What other three dimensional technologies are they starting to use now?
What other three dimensional technologies are still being developed?
What is the three-dimensional technology named that is used by Tom Cruise, in the movie Minority Report, to scroll around in a database when being at his office?
Is it really a thing of today to represent things three dimensional?
Was it not that in early times, even times before Christ, people could only draw or either build a three-dimensional model?
How strange is it really if Edouard Heuer would have used rocks in the mountains of Saint-Imier to represent a three-dimensional model of the clockwork that he wanted to engineer in such a way that its parts would resemble a race team and its coordination?
What other objects could be found in the mountains that could be used by Edouard Heuer to represent a 3D model of the clockwork that he was working on?
When travelling the mountains of Saint-Imier, what objects can be found other than rocks?
What about distant mountain peaks, grass, flowers, animals, gravel, sand, clouds, trees, paths, other people, cows, fences, shadows?
What holes in stones can be found in the big rocks?
What would Edouard Heuer need, meaning what kind of other objects, to be able to build or express the three-dimensional model of the clockwork in such a hole?
Should he not have to think about designing a clockwork that has a resemblance with the race team and its coordination but only with the outer design of the watch?
If so, why? Why only translate the race team and its coordination into the parts of the watch that can be seen from the outside?
What are the parts of Edouard Heuer's watches that can be seen from the outside can be subjected to a redesign to resemble the race team and its coordination?
Are all parts of Edouard Heuer's watches that can be seen from the outside good enough to be subjected to a redesign?
Which part would Edouard Heuer pick to be left out, not be changed, of the watch's design when designing the visible parts of the watch to resemble the race team and its coordination?
What is the reason for him to choose this part to be left out of the designing process?
Why can it be that it is better leave such a part out of the design process?
Can a reason for this be that such a part resembles the identity of Edouard Heuer's watches, a resemblance of his identity of his watchmaking skill?
Is there also a part in TAG Heuer's SLR that is not taken into the design process when the SLR was designed?
Why was this? Would this have been because of the same reason Edouard Heuer would have chosen to leave this part out of the design process?
Which parts of TAG Heuer watches would normally be taken into the design process when designing a watch that is to be linked to a sports car or another sports object, e.g. a racing yacht?
What would it mean if such parts would be taken into the designing process?
What would this mean for the designing process itself?
Would there be a whole new range of designs possible when such parts of TAG Heuer watches would be used within the design process?
Would one of such parts be the logo of the TAG Heuer Company?
Would one of such parts be the logo of Edouard Heuer's watchmaking shop at those days?
Would such a part be the winding option Edouard Heuer engineered and patented for his watches which meant that because of this winding option owners of TAG Heuer watches no longer had to use a separate key to wind-up the clockwork of their watches?
Let's say for a minute that Edouard Heuer would choose to take this winding functionality of his watches in to the designing process of a new watch, in what way then could he subject this winding functionality to the designing process?
Would changing the colour be one of those ways to redesign the winding functionality for the new watch? What about changing its shape, engraving the winding part, using something other than the original winding part, e.g. a part of sports car that the watch is being designed for?
Would the design of the winding functionality go as far as reengineering the winding functionality to e.g. a part of the sports car that makes the sports car very special? E.g., TAG Heuer's SLR design is linked to Mercedes' SLR McLaren. What are very special parts of Mercedes' SLR McLaren that makes this car very special?
What were the options Edouard Heuer had when it came down to reengineer the winding functionality of his watches and keep the quality for which his winding functionality was renowned for?
When was it that Edouard Heuer came up with the engineering of the winding functionality that made the key, that was always used to wind the clockwork of watches in those days, obsolete?
Was it pure from a watch design point of view that made Edouard Heuer search for a winding functionality that would not need a key anymore or was it something else?
Could it be that Edouard Heuer often lost his key that he used to wind the clockwork of his watch?
Could it be that it was a customer who asked him for such a design?
Could it be that everyone at the days of Edouard Heuer was just fine with the thought that one always needed a key to wind the clockwork of one's watch?
When is one a revolutionary watch designer, when one designs a revolutionary watch when the market does not ask for one or when the market is asking for one?
Is it not that when one things of revolutionary watch designs that one is more revolutionary then the watch designer who starts to think about revolutionary watch design when the market is asking for it?
What kind of watch designer was Edouard Heuer?
What kind of watch designers are the designers who designed TAG Heuer's SLR? Market driven designers or designers who are way ahead of the market?
What are the ways Edouard Heuer found to change the clockwork design to match the object the watch was to be linked to, let's say a sports car?
How could the ways he used to change the design of the clockwork be best described?
Did Edouard Heuer design watches that were way ahead of the watches that were brought on the market by watchmakers?
In what way did Edouard Heuer understand how to handle his revolutionary watch designs?
What does it say in his notes on how and when to release his revolutionary watch designs?
In what way do his notes regarding revolutionary watch design already pinpoints towards today's TAG Heuer's SLR?
Where did Edouard Heuer store his revolutionary watch designs?
Which businesses in Saint-Imier could fabricate his revolutionary watch designs?
Which businesses outside Saint-Imier could fabricate his revolutionary watch designs?
Who were the most important watchmakers in those days that dominated the watch market?
How many of those were also working on a winding functionality that did not require the usage of a separate key?
Was it really the case that Edouard Heuer was the only watchmaker on the market who designed high quality watches?
How many times has it been that Edouard Heuer was not the thirst to bring high quality watches onto the market?
Was the watch market Edouard Heuer worked in separated from the watch market in London?
Was it not the case that Edouard Heuer's brother worked in London?
How quick could Edouard Heuer's brother sent news from the watch market in London to him in Saint-Imier?
How long did it take for sketches to travel from London to Saint-Imier?
Where were the most demanding watch markets located? New York, London, Amsterdam or Hong Kong?
How did Edouard Heuer know what was going on at the most important watch markets?
How much did Edouard Heuer drive his competitors to put their focus on the clockwork of their watches because of the high accuracy clockworks he produced?
How well could Edouard Heuer's competitors copy his accurate clockwork into their own?
In what way was Edouard Heuer occupied with the technique of his competitor's watches?
How is it nowadays with the TAG Heuer watches, how well are competitors interested in the technique that is used within TAG Heuer's SLR?
Is this technique easily copied to a competitor's watch?
If this is the case, do the TAG Heuer engineers of the SLR not need to worry about competitors copying technique used in the SLR to their own watches because the technique used in TAG Heuer's SLR is a strong identity of the TAG Heuer Company?
How can it be that technique and design of TAG Heuer watches become known as being TAG Heuer's?
What is it in TAG Heuer's technique and design that would be misplaced if a competitor would copy it one on one to its own watches?
Did Edouard Heuer also create such a technique and design for his watches that were known to be his?
Is a mark of Edouard Heuer that he used a technique for his clockwork that was very complex even though there were much simpler ways of engineering an accurate clockwork for a watch in those days?
Could this be a way, engineering a complex clockwork that in fact can be much simpler while resulting in the same accuracy as the complex clockwork, to give a watchmaker his own mark, his own characteristic, its own identity?
Could this be a way that stopped competitors from copying Edouard Heuer clockwork design because it was now not anymore about the accuracy of the clockwork but about how skilled a watchmaker could be, resulting in a complex accurate clockwork for their watches? Meaning, if you want to out-skill the complex clockwork of your competitor there is nothing to gain when you simply copy his clockwork, matter of fact, copying the clockwork and pretending you can also built accurate complex clockworks will work against you because people will consider your watchmaking as a fraud, a fake, because you simply copied it from a competitor?
If Edouard Heuer could design accurate complex clockworks how much engineering did he had to do if he wanted to create a watch that had a clockwork that resembled a race team and its coordination, as stated some questions back?
How much of an inspiring environment did watchmakers use to come up with new watch designs?
What were in the days of Edouard Heuer the ways of finding ways to overcome creativity that had stopped in one's mind for a period, similar as writers experience a writer's block?
Was engineering racing cars the most advanced business in the days that Edouard Heuer designed his watches?
Was it because of this being the most advanced business that made him design watches that would also have state-of-the-art technology, engineering designs and overall designs?
Could it be Edouard Heuer had a big advantage when it came to designing watches because he lived in an inspiring city, Saint-Imier?
Did he get the most inspiration from walking in the mountains and the forests on its slopes?
Some questions back it was talked about Edouard Heuer trying to design a clockwork that resembled a race team and its coordination and the possibility of him making a three-dimensional model of the clockwork that he was working on by using, perhaps, rocks. What part of the clockwork that Edouard Heuer worked on to resemble a part of the race team could be best represented by the moss that could be found on damp rocks?
Is it ever possible that Edouard Heuer could find ideas on how to design a clockwork that would resemble a race team and its coordination when walking an entirely different environment than a racetrack?
What if he went into the mountains after he had visited the racetrack, then it would not be too strange to walk in the mountains with the racetrack and all the things happening there in his mind, is it not?
Can Edouard Heuer create the clockwork that is used in today's TAG Heuer's SLR?
Would he agree, when presented to him TAG Heuer's SLR while walking the mountains of Saint-Imier, that its clockwork would resemble the race team and its coordination that he was looking for?
Which parts of the TAG Heuer SLR's clockwork would Edouard Heuer recognize as having the same function as the parts within his own clockwork?
Which parts of the clockwork of TAG Heuer's SLR would he want to use for his own clockwork for that part to resemble a part of the race team his trying to get resembled by the clockwork he is designing?
Would he find any parts in the clockworks he used to be used in the clockwork of TAG Heuer's SLR?
In what way is the clockwork of TAG Heuer's SLR much more complex than is the case with the clockwork of Edouard Heuer's watches?
Which of the clockworks, that of TAG Heuer's SLR or Edouard Heuer's watches, would resemble Mercedes' SLR McLaren best?
Can it be said with certainty that it is the clockwork of TAG Heuer's SLR simply because it is the most modern one?
Can it be said with certainty that it is the clockwork of TAG Heuer's SLR simply because it is capable of clocking 1/10th and 1/100th of a second?
Can it be said with certainty that it is the clockwork of TAG Heuer's SLR simply because it is made from modern materials?
Can it be said with certainty that it is the clockwork of TAG Heuer's SLR simply because it is the most complex one?
None of these questions can be answered with absolute certainty, can it? Meaning, what makes a watch resemble a sports car best?
Is a watch that has a complex clockwork automatically linked to a sports car? If so, which sports car? What type of sports car?
Is a watch that is considered modern automatically linked to a sports car? If so, then all watches of today could be used to resemble a sports car, is it not?
A watch being able to clock 1/10th or 1/100th of a second with perhaps an analogue clockwork is perhaps a state-of-the-art clockwork but would that automatically resemble or connect it to Mercedes' SLR McLaren or a part of it?
What could Edouard Heuer tell about in what way the clockwork of TAG Heuer's SLR resembles Mercedes' SLR McLaren or a part of it?
What are the tools Edouard Heuer would use when investigating the clockwork of TAG Heuer's SLR?
Which one of Edouard Heuer's clockworks could he install in the frame of TAG Heuer's SLR, as a replacement?
If this would be done in what way would the TAG Heuer's SLR link to Mercedes' SLR McLaren be disturbed?
Would it be disturbed and if so, why?
Why would the link of TAG Heuer's SLR watch be disrupted if Edouard Heuer would replace the clockwork of TAG Heuer's SLR with one of his own?
Is it not that Edouard Heuer's clockworks are also characterised by a high level of quality and skill?
Can it be said that because Edouard Heuer made his clockworks by hand they are considered more of a piece of art than the clockwork that is used in TAG Heuer's SLR?
How many handmade parts are implemented in the clockwork of TAG Heuer's SLR?
How many handmade parts are implemented in Edouard Heuer's clockworks?
Are there also machine-made-parts constructed in Edouard Heuer's clockworks?
When Edouard Heuer started his watchmaking shop, how did he construct the clockwork for his watches?
If looked at the entire watchmaking career of Edouard Heuer, what then can be said about the sophistication, the evolution so to say, of the tools that he used to construct his clockworks with?
Does it show that there was a development in the capabilities of the tools?
What can be said about real watchmaking craftsmanship? Is it the tools that allow craftwork to be delivered or is it the skill of the person who handles the tools that result in craftwork?
Does one really need sophisticated tools to design a clockwork in one's mind?
Does one really need sophisticated tools to know how one want to design a clockwork?
Does one really need sophisticated tools for one get ideas on how the design of a watch should be after seeing Mercedes' SLR McLaren?
What is needed for a watch designer for him to design a watch that is to be linked to an object that he has never seen before?
Does the time one needs to adjust to the moment, when seeing an object he has never seen before, when getting to the process of designing a watch for that object?
Is it not that Edouard Heuer lived in a time where continuously revolutionary technology and sparkling new insight was discovered by scientists?
Can it be said that Edouard Heuer saw/experienced much more revolutionary technology than people are today?
Is not that the revolutionary technologies, that were discovered in the days that Edouard Heuer had his watchmaking shop, were truly revolutionary because religion was much more interwoven with society and daily life of people?
If so, as asked somewhat similar before, what then does it take for a watchmaker like Edouard Heuer to think about how to engineer/design revolutionary watches?
Does one need an example to start thinking of revolutionary watch designs or should the drive come from within?
If Mercedes' SLR McLaren would have been parked in a quiet place in Saint-Imier where Edouard Heuer and the designers of TAG Heuer's SLR would discuss the design of TAG Heuer's SLR, what then would Edouard Heuer start with?
Would he be more focused on TAG Heuer's SLR or on Mercedes' SLR McLaren?
Would he demand to go for a walk in the mountains of Saint-Imier to set his mind straight, after seeing Mercedes' SLR McLaren and TAG Heuer's SLR, to start to discuss the design work of TAG Heuer's SLR?
What would he be more surprised about, with Mercedes' SLR McLaren or the clothing of the TAG Heuer designers?
In what way would Edouard Heuer reflect on his own watch design now that he has seen TAG Heuer's SLR?
No matter how strange the object is a designer is faced with, he is always able to see how the design is done, if the design is done properly, what could be better, is it not?
What does one need to know to design an object that is to represent another object, in this case Mercedes' SLR McLaren?
What does Edouard Heuer need to know to be able to understand why the designers of TAG Heuer's SLR designed TAG Heuer's SLR the way it is now?
In what way can it be said the mountains Edouard Heuer walked through possess the same or even more magnificence than Mercedes' SLR McLaren?
In what way has Edouard Heuer learned how to interpret the beauty of Saint-Imier's nature in the some of the watches he made?
Are the principles that he found, when it came to how to design a watch that reflects the object that the watch was made for or inspired by, different than the principles the designers of TAG Heuer's SLR used to design the SLR?
Do the tools that are at a watch designer's disposal, affect the principles that are followed when a watch designer is designing a watch that is to resemble a sports car?
Does the type of sports car influence the principles by which the watch designer is going to design the watch?
What is the effect of the market when it comes down to the design principles of watchmaking?
By what design principles are motorbikes designed that are to be linked to e.g. a memorable motor race?
Will a motorbike designer search for the atmosphere that was present among the spectators of that memorable motor race?
Will he look at the colours of the spectators' clothing?
What will the motorbike designer do with high class overtake moments, overtake moments that made this race memorable?
Does Edouard Heuer have any spectator's reaction when seeing Mercedes' SLR McLaren that he can translate into a detail in the design of TAG Heuer's SLR?
Can it be that Edouard Heuer will adjust some details of TAG Heuer's SLR design in such a way that these details can be linked to aspects of Mercedes' SLR McLaren that become more important over the lifetime of the car?
Could it be the designers of TAG Heuer's SLR already implemented such details from the beginning in the watch?
Does implementing such details in TAG Heuer's SLR something that can only be thought of when working with CAD programmes that were used to design TAG Heuer's SLR with?
If so, what is it about these CAD programmes that one can only think of implementing such details in a watch, in this case TAG Heuer's SLR?
Is there a special button in one of these CAD programmes that automatically generate such details for the design of TAG Heuer's SLR?
In what way is a CAD program able to generate such details for TAG Heuer's SLR when it is given five important features of Mercedes' SLR McLaren?
What algorithm would a mathematician program in the CAD program for this program to generate the details for TAG Heuer's SLR that will represent those aspects of Mercedes' SLR McLaren that will become important within two, five or seven years, when the algorithm is fed with five important features of Mercedes' SLR McLaren?
Would it be easier to generate such details for TAG Heuer's SLR by a CAD program if the five important aspects of Mercedes' SLR McLaren are picked by a designer of Mercedes?
Would it be easier to generate such details for TAG Heuer's SLR by a CAD program if the five important aspects of Mercedes' SLR McLaren are picked by a designer of TAG Heuer's SLR?
Would it be easier to generate such details for TAG Heuer's SLR by a CAD program if the five important aspects of Mercedes' SLR McLaren are picked by an industrial visionary?
Which of those five important aspects would the strategy department of the Mercedes Corporation come up with?
Is this strategy department open and enough drained with a designer's heart to determine five important aspects of Mercedes' SLR McLaren?
Is this strategy department open and enough drained with a designer's heart to think together with the designers of TAG Heuer to help with implementing details in TAG Heuer's SLR that will allow TAG Heuer's SLR still to be linked to Mercedes' SLR McLaren in the future if other aspects of Mercedes' SLR McLaren have become important that were not at all important, nor really visible, when Mercedes' SLR McLaren, and TAG Heuer's SLR, were brought on to the market?
Are there any computer programs that will allow to determine what is and what is not important about a car or a watch in e.g. three years' time from the moment it will be released?
Is it that the details, that Edouard Heuer is looking for to implement in TAG Heuer's, are not really to be found in Mercedes' SLR McLaren or in other details of TAG Heuer's SLR but somewhere else?
Where would one go to search for details to implement in TAG Heuer's SLR in such a way that these details will make TAG Heuer's SLR also to be linked to aspects of Mercedes' SLR McLaren that come out in e.g. five years from now?
Could it be one must go and talk to a marketing strategist?
What could such a marketing strategist tell about how to tune your product in such a way that aspects of that product to be hidden when it is released but to come out in e.g. two or five years' time?
Can that marketing strategist give any examples of a product that he advised on in a similar way?
If so, what are the results of that product when it comes down to the theory of implementing such details?
Why is the explanation the marketing strategist is giving for the implementation of such details being successful for the product he is referring to?
In what way is are the major events of the timeline, in which the product was released up to the moment the hidden details become import, of any influence on the hidden details to become important?
Are these major events only of influence on the product the marketing strategist is talking about?
Can the marketing strategist give examples of what the effect of these major events were on the details of other products that were to come out but did not?
How reliable is the explanation the marketing strategist is giving? Meaning, can he guarantee for a hundred percent that his theory is working?
What could the marketing strategist tell Edouard Heuer about designing watches?
Who were the important marketing strategists in Switzerland when Edouard Heuer was starting his watchmaking shop?
What kind of marketing strategists regarding watchmaking were present in New York?
How was it during the days of Edouard Heuer regarding business strategy?
Did one had to find it out all by himself, how far was marketing in those days regarding the psychological aspects of people when it came to their way of buying products?
In what way does one need to be a marketing strategist himself to come up with such details regarding TAG Heuer's SLR?
In what way does one need to know the psychology of man to design a successful product?
Why can it not simply be that a product is good or nicely designed that people want to have it?
Is it only something of nowadays that people dresses themselves with products for them to stand out or could Edouard Heuer also tell one or two things about such things in his days?
Is it possible to design watches that are tuned for people's psychology for them to buy it?
How does it work with the artwork of an artist?
Is it not the case that for a sculptor the sculpture he is creating is an expression from within, it comes from within the sculptor, and is not based on those parts of man's psychology for people to instantly wanting to buy the sculpture?
is it not for every artist that the product he is designing comes from his heart, his feelings, his view on the world, his own situation, etcetera, and not in at all what people might think of the product he is designing?
If a designer nowadays would have spoken these words to the management of the company he works for, would he then still has his job at the end of the month?
Make products that sell, no matter if it is an artist's impression, is it not? Selling is important not the level of thoughts and feelings of the designer that goes into the product, true?
Is it not true that designing products will only be related to people's psychology when it comes to products that are mass-produced?
Is it not that Edouard Heuer lived in that period where the true artist's impression slowly was put aside to make way for mass production of products? Meaning, there simply was no more time for true artist to look, feel and touch the artwork that he was working on to find ways in how to express that what he wanted to express in/with the artwork?
Has there ever been a period in history that the artwork of true artists was looked at as being an inferior expression?
If so, was this the output of man's psychology that was influenced/programmed by marketing?
No matter how well marketing can influence/programme people's psychology, man will always be man, or in a somewhat lighter expression; people will always be people, is it not? Meaning, no matter how well you control what people should like and what not, there is a point when marketing will not help when it comes down to ease people's minds/needs/ what people need to get through life.
Is it not that true artwork is more everlasting, more durable and more valuable to people?
Is it not that true artwork gets the attention of people time after time, but needs to be said, only at that time that people have the need for it?
What could Edouard Heuer tell about the level of artwork that the designers of TAG Heuer's SLR have implemented in the watch?
If Edouard Heuer would explain about artwork design in a watch, which of his watches would he then show the designer of TAG Heuer?
In what way would Edouard Heuer consider the 1/10th and 1/10th timekeeping capability of TAG Heuer's SLR as being a piece of artwork engineering?
Would he also consider the 1/10th and 1/100th timekeeping capability as being artwork design besides it being artwork engineering?
When is something considered artwork engineering?
Is this when the engineering is done on a state-of-the-art level?
Is this when the engineering is done in such a way that the principles and the techniques used are emphasized in a way?
Is artwork engineering only visible/expressed through artwork design?
Is the keyless winding functionality Edouard Heuer constructed for his watches a piece of artwork engineering?
Would this keyless winding functionality be a piece of artwork engineering if the visible parts of this keyless winding functionality would have been engraved?
Would this keyless winding functionality be a piece of engineering artwork if he used a piece of stone, a piece of stone that is rarely to be found in Saint-Imier, as the part that people must turn to wind the clockwork?
Would Edouard Heuer explain that his keyless winding functionality is artwork engineering because he chooses to engineer a known principle of clockwork engineering, the winding functionality, in a different way, that is, in such a way that no key had to be used anymore to wind the clockwork?
Which watchmaking companies nowadays have the skill to produce similar hands like Edouard Heuer's watch?
In what way will the designers of TAG Heuer's SLR also reason with Edouard Heuer that his keyless winding functionality is also more or less state-of-the-art engineering for the period in which he engineered this keyless winding functionality?
What parts of Edouard Heuer's own watch would he present as being artwork design?
Which one of his competitor's watches would he also show to indicate the difference in artwork between the watches he makes and his most important competitor?
Was it not that artwork design was a strong selling point in the days of Edouard Heuer's watchmaking career?
How many people did Edouard Heuer have employed that were totally focused on implementing artwork design in his watches?
What was Edouard Heuer's focus point; engineering accurate clockworks or watch design?
Who designed the hands of TAG Heuer's SLR?
In what way would Edouard Heuer have designed the hands of TAG Heuer's SLR if looked at the hands of his personal watch (Edouard Heuer's personal watch can be seen in detail when "complete history" is chosen in the TAG Heuer history overview, see external links on top of this page)?
What would the marketing annalist in Edouard Heuer say when it comes down to considering using the hands of his own watch to be implemented in TAG Heuer's SLR?
What would the artwork designer in Edouard Heuer say when he would implement the hands of TAG Heuer's SLR in to his own watch?
What is the difficulty when implementing TAG Heuer's SLR with the hands of Edouard Heuer's watch, from an artwork-design perspective?
Are the hands of Edouard Heuer's watch from a lower level when viewed from an artwork-design point of view?
Are the hands of Edouard Heuer's watch from a lower level when viewed from an artwork-design point of view nowadays?
Which watchmaking companies nowadays have the skill to produce similar hands like Edouard Heuer's watch, handmade?
Which watchmaking companies nowadays have the skill to produce similar hands like Edouard Heuer's watch, mechanically?
Is artwork design always about skilled handmade parts of a watch?
Is Edouard Heuer's skill to make high quality design parts for his watches a way to create the artwork design for TAG Heuer's SLR?
How would people in general, nowadays, react if they see TAG Heuer's SLR with the hands of Edouard Heuer's own watch?
How would people react if they do not know what skill it takes to make such artwork design hands?
How would competitor-friends of Edouard Heuer react if he would show them his own watch with the hands of TAG Heuer's SLR?
Is it not that the hands of TAG Heuer's SLR implemented in Edouard Heuer's own watch in general would not look misplaced at all?
And what about the hands of Edouard Heuer's watch implemented in TAG Heuer's SLR?
What would Edouard Heuer change about the artwork of his own hands when preparing them to be implemented in TAG Heuer's SLR?
Which part of Mercedes' SLR McLaren has a resemblance with Edouard Heuer's own hands?
Is it not that without changing the artwork design of Edouard Heuer's hands you will get a watch that in a strong way brings two important parts together in TAG Heuer's SLR; Mercedes' SLR McLaren and the founder of TAG Heuer, Edouard Heuer, and there with the TAG Heuer Company as to what it is today?
Is it becoming too much a work of art instead of artwork when implementing Edouard Heuer's hands directly in TAG Heuer's SLR?
If so, if this problem was to be talked over with Edouard Heuer what then would his solution be to solve this?
Where on Mercedes' SLR McLaren will he look for a part which's design would bring him the solution to change the artwork design of his hands to match the rest of TAG Heuer's SLR?
Where in Mercedes' SLR McLaren can similar lines, as the one of Edouard Heuer's hands, be found?
Can such lines be found in the leather of the seats?
What about the rear mirror?
What about the construction of the rear mirror near the windshield?
What about the engine compartment?
Is it not that such lines as the ones in the hands of Edouard Heuer's own watch cannot be found in Mercedes' SLR McLaren because the Mercedes' SLR McLaren is much modern than the hands of Edouard Heuer's watch?
Can it be said that the lines found in Edouard Heuer's watch are not to be found in any object nowadays?
Where could such lines be found in the days of Edouard Heuer?
Were such lines common in the days of Edouard Heuer?
If so, where could such lines be found? In the clothing of people at those days, the surroundings of a fireplace, knife and forks, the decorative ceilings in houses, decoration of train stations, the front of houses?
Are the lines in the hands of Edouard Heuer's watch characteristic lines for the Saint-Imier region in Switzerland?
When Edouard Heuer showed his watches at exhibitions abroad, would the hands of his watch stand out from a design point of view when compared to the hands of other watches that were showed at those exhibitions?
Is there a certain meaning that is reflected in the lines of the hands of Edouard Heuer's watch? Meaning, does it stand for something?
What do the hands of TAG Heuer's SLR reflect? Does it resemble a special meaning of today's life or is it just reflecting a characteristic of Mercedes' SLR McLaren?
If it reflects a part or characteristic of Mercedes' SLR McLaren, what characteristic is then being reflected?
Is there only one way to reflect a part or a characteristic of Mercedes' SLR McLaren in the hands of TAG Heuer's SLR?
Is it not that it can be said that there is no right or wrong way to reflect a part or a characteristic of Mercedes' SLR McLaren in the hands of TAG Heuer's SLR because it depends on the designer's view and each designer has its own view as it has its own personality?
If so, how then to determine if an artwork design of the hands of TAG Heuer's SLR is a proper one?
How to determine if the artwork design of the hands of Edouard Heuer's watch are or aren't the hands that need to go in TAG Heuer's SLR?
Can it be said that the lines and shape of a watch that is to reflect Mercedes' SLR McLaren is well designed when its lines and the shape are in such a way that they are similar as the lines and shape of Mercedes' SLR McLaren?
Even if this is the case, there are many parts in Mercedes' SLR McLaren that have their own line and own shape, how then determine which part, line or shape to pick to create the artwork design for the hands of TAG Heuer's SLR?
Is there really no part at all that would match the lines of the artwork designed hands of Edouard Heuer's watch?
If Edouard Heuer would decide to make the artwork design of the hands of his watch even more complex for it to fit-in with the rest of the artwork design of TAG Heuer's SLR, would that then be a way of implementing the hands of Edouard Heuer's watch in TAG Heuer's SLR?
Which part of TAG Heuer's SLR would suit best to migrate a little of the artwork design of the hands of Edouard Heuer watch for the artwork design of the hands to become better integrated within TAG Heuer's SLR?
Would these parts of TAG Heuer's SLR be e.g. the hands of the 1/10th and 1/100th time keeping?
What about the markers of TAG Heuer's SLR?
Why not simply implement a picture of Edouard Heuer on the backplane the 1/10th or 1/100th time keeping dials?
How would it be if the artwork design hands of Edouard Heuer's watch were not implemented in TAG Heuer's SLR as being the hands that indicate hours and minutes but as the hands that indicate the 1/10th and 1/100th time keeping?
Why is it that implementing the hands of Edouard Heuer's own watch for the 1/10th and 1/100th time keeping require most likely far less adjustments then when implementing them for the hands that indicate the hours and minutes?
Is it not the case that giving the hands of the 1/10th and 1/100th time keeping the artwork design of Edouard Heuer's hands will make the 1/10th and 1/100th time keeping of TAG Heuer's SLR even more special, more delicate, just by the looks of it?
If this would be done could it then be that the hands of the 1/10th and 1/100th time keeping become too heavy for them to keep up with the part the clockwork that does the 1/10th and 1/100th time keeping?
What is the material the hands of Edouard Heuer's watch are made of?
When was it that Edouard Heuer chooses to use this material to construct the hands of his watch with?
How many different materials were at Edouard Heuer's disposal prior to the start of artwork designing the hands?
In what way was it that the material he chose already decided the type of artwork design he would give the hands?
Was it not that one of the greatest sculptors in western history said, when standing in front of a virgin rock; the sculpture is already there, you just must cut away the remaining pieces?
Is this also the way Edouard Heuer created the artwork design of the hands that he used for his watches?
To what extend was it that Edouard Heuer thought, or rather saw, the artwork design of the hands that needed to be made for a watch?
To what extend was Edouard Heuer limited by the tools that he used to create the artwork design of the hands with?
In what way will the designers of TAG Heuer's SLR redesign the hands of Edouard Heuer's watch for them to match the artwork design of TAG Heuer's SLR?
If asked about the difference in artwork design between the hand that indicate the seconds and the hands that indicate the hours and minutes, regarding Edouard Heuer's watch, what then will they say?
Can it be said that there is no artwork design in the hand that indicates the seconds in Edouard Heuer's watch?
Can it be said that there is artwork design in the hand that indicates the seconds in TAG Heuer's SLR?
If so, is the artwork design of the hand that indicates the seconds of TAG Heuer's SLR then found in the red tip of the hand?
Is it a coincidence that the artwork design of Edouard Heuer's hand that indicates the seconds also has the tip of the hand decorated and not the middle part of the hand just like the hand of TAG Heuer's SLR that indicates the seconds?
How old is the Edouard Heuer's watch compared to TAG Heuer's SLR?
Can it be said that Edouard Heuer's thought of implementing a hand that indicates seconds at the time he engineered his own watch, was a far more revolutionary thought then the 1/10th and 1/100th indicators of TAG Heuer's SLR?
Is it not the that the thought of Edouard Heuer of making the seconds visible in a watch is a revolutionary thought and the 1/10th and the 1/100th of TAG Heuer's SLR are a bare technological accomplishment?
If the seconds' time keeping of Edouard Heuer's watch is a revolutionary accomplishment, what then can be said about the artwork design he gave this revolutionary accomplishment, that is, the hand that indicates the seconds?
In what way would it have been better if Edouard Heuer would have used a similar design, for the hand that indicates the seconds of his watch, as the hand that indicates the seconds of TAG Heuer's SLR?
How come Edouard Heuer choose to design a separate numbered dial to indicate the seconds instead of using the main numbered dial that holds the hours and minutes?
Would it not have made more sense for Edouard Heuer to choose to also use the main numbered dial?
It may seem a small step to leave the main numbered dial and design a separate numbered dial for the seconds, but is it also a small step?
How much designing did it take for the designers of TAG Heuer's SLR to come up with the design of the 1/10th and 1/100 time keeping?
Would they agree that they have had an example that they fell back on, that is Edouard Heuer's watch?
How much designing did it take Edouard Heuer for him to locate the numbered dial of the seconds on the bottom of the main numbered dial?
How daring is it for a watch designer, in the days of Edouard Heuer, to work with a separate numbered dial for the seconds?
How much character of the designer does it show when implementing such a daring feature as a separate numbered dial?
Could it have been that it was not really a daring design of Edouard Heuer to use a separate numbered dial for the seconds, but that he basically had no other choice to do so? Meaning, from a mechanical point of view he had no choice but to engineer the clockwork that generates the seconds anywhere other than on the bottom of the main clockwork that generates the hours and minutes?
How much choice had the designers of TAG Heuer's SLR to locate the numbered dials of the 1/10th and the1/100th time keeping somewhere else?
Is their choice also limited by a mechanically point of view or do they have much more freedom?
Is it not that watch design becomes much more challenging when one's limitations from a mechanically point of view becomes less?
If so, how is it that Michelangelo could design objects that he had not the technology for to realize or even properly model them?
If so, how is it possible for Einstein to have thought of E=mc2 when he did not have the tools to prove it in a test array?
How much of a designer's mind did Edouard Heuer had when looked at the subtle location of the numbered dial, of his own watch, that slightly falls over the five and seven markers?
In what way was it that Edouard Heuer took a risk designing the numbered dial of the seconds by overlapping the five and seven markers? Meaning, would the overlapping of the five and seven markers be considered a design error?
Were there more of such watch design features around that could be mistaken for a design error?
How many competitor watch designers did Edouard Heuer have who would be as daring in their watch design?
In which other watch has Edouard Heuer ever taken such daring design steps as in his own watch regarding the overlapping of the five and seven markers by the numbered dial of the seconds?
Where in Mercedes' SLR McLaren can be found a similar daring design?
Which parts of TAG Heuer's SLR will the TAG Heuer SLR designers indicate as being an equal daring design feature as Edouard Heuer's, overlapping of the five and seven markers?
What is it that makes this part of TAG Heuer's SLR a daring piece of design?
Can there be a daring design in TAG Heuer's SLR considering the watch is designed as being linked to Mercedes' SLR McLaren?
Is it not that every aspect of the design of TAG Heuer's SLR has to be focused on the details of Mercedes' SLR McLaren?
What is the difference between being focused on the details of Mercedes' SLR McLaren and translating details of Mercedes' SLR McLaren to the parts of TAG Heuer's SLR?
In what way can it be said that unusual designs were more easy adapted by people who lived in Edouard Heuer's time because of a strong technological revolution at those days than nowadays?
Can it be that a daring design is only daring because it is considered daring from a public's point of view?
Or is it that a daring design is only considered daring because it is a daring design from the watchmaking industry's point of view?
In what way are the rules for a daring design dictated by the limitation of the design skills of watchmakers?
How many times have TAG Heuer designers criticised competitor watch designs simply because they were not able to come up with a similar design?
Could it be that the designers of Seiko's Velatura SRH005PL would come up with the same design for TAG Heuer's SLR?
If so, would that then mean that the TAG Heuer designers really translated the details of Mercedes' SLR McLaren properly into TAG Heuer's SLR?
In what way were the TAG Heuer designers limited by the TAG Heuer Company when designing TAG Heuer's SLR?
If Edouard Heuer would have been the lead designer of the team of designers who were grouped to design TAG Heuer's SLR, would he then have used the same limitations as the TAG Heuer Company has done?
When linking the design of a TAG Heuer watch to a car, in what way can it be said that limitations incorporated by the TAG Heuer Company are not necessary because the limitations for the watch's design are already there simply because of the car itself?
What part of TAG Heuer's SLR is designed in such a way that it can be said that the design of this part situates at the border of a design-limitation, given the detail of Mercedes' SLR McLaren to which this part is designed?
What is the reason for the design of this part being on the border of that design-limitation?
Would Edouard Heuer also agree that the design of this part is on the border of that design-limitation?
In what way should the part of Mercedes' SLR McLaren be changed for the design of that part of TAG Heuer's SLR to be taken away from the design limitation?
Can it be that that part of Mercedes' SLR McLaren does not need to be changed but that it is simply enough to look/consider this part of the car when it is driving in snowy conditions? Meaning, the looks/appearances of the part of the car in snowy, or other weather sceneries, are in such a way that no longer the design of that part of TAG Heuer's SLR is on the border of a design limitations?
In what way did the TAG Heuer designers get to view Mercedes' SLR McLaren? Was this simply in the production facility of Mercedes? Did Mercedes just simply send a view photographs to the TAG Heuer designers? Were the designers taken for a drive on the Nürburgring in Germany? Were the designers allowed to look around at the design facility at the Mercedes headquarters when the SLR was being designed?
In what way can it be said that the Mercedes SLR designers were faced with as much of challenge to design the SLR when they were presented with the engine that was going to be used in the SLR as the TAG Heuer designers were with how to translate aspects of Mercedes' SLR McLaren to TAG Heuer's SLR?
Is the similarity, between the designers of the Mercedes' SLR McLaren and the designers of TAG Heuer's SLR that they have to translate aspects into a design?
What other aspects besides the one from Mercedes' SLR McLaren had the TAG Heuer designers to cope with?
In what way were the TAG Heuer designers bound to the design characteristics of TAG Heuer watches?
What exactly are the characteristics of watches?
Are the characteristics of TAG Heuer watches nowadays the same as it was twenty-five years ago? Would Edouard Heuer also agree on this?
Where do the characteristics of the TAG Heuer watches come from?
Do they originate from the days of Edouard Heuer?
Would Edouard Heuer agree that the characteristics of the TAG Heuer watches nowadays originate from the skills of Edouard Heuer to give a watch these characteristics?
Would Edouard Heuer agree if it is said that a watch having characteristics that many of its predecessors have, also means that the designers have not been renewing enough?
How long did Edouard Heuer keep a certain design characteristic in his watch designs?
Was the reason for keeping this characteristic within his watch designs for some time mainly so it was easily recognizable that is was a Heuer watch?
Can it be that in the days of Edouard Heuer a good watch design was a design that bared the mark of its creator?
And, perhaps consequently, could it be said that a lesser watch design was a watch design that a watchmaker copied from his competitor?
If so, in what way is it possible for a watchmaker to implement a new design for new watches without breaking/violating this rule?
Does a change in design characteristics mean that a watchmaker is changing its own identity?
Does changing design characteristics of TAG Heuer's SLR mean that no longer this watch is being linked to Mercedes' SLR McLaren?
What is the difference between changing a design characteristic of a watch and evolving the design characteristic of a watch?
Who is to judge whether a change in the design of TAG Heuer's SLR will result in losing the link with Mercedes' SLR McLaren?
Who is to judge whether a change in the design of TAG Heuer's SLR will result in the watch no longer being characterized as being a TAG Heuer watch?
Is it not that a watch's design, when designing a watch which's design is to be linked to a sports car, is not as much translating characteristics of that sports car into the watch's design, but is all about the watchmaker getting touched/inspired/moved by the sports car design in such a way that he will design a watch thus from that?
If so, would this then mean that the watchmaker's design is to be considered an expression, an artwork design so to say?
How then should it be, each TAG Heuer designer designing its own artwork design?
If so, on what grounds will the design be chosen that will be used for the new watch?
In what way is it possible for other watch designers to leave their own artwork design, regarding the watch, behind and continue with the artwork design, the artwork expression, of a colleague?
Can it be said that when continuing with the artwork design of one designer the designing process as being an expression stops when the designing process that is focused on just making the artwork design of the watch suitable to be linked to Mercedes' SLR McLaren starts?
In what way is it for a TAG Heuer designer possible to continue working on someone else's artwork watch design while continue designing from an expression point of view, from within?
Can it be that to make this work each TAG Heuer designer must treat the watch design of his colleague as being a rough sketch that he can change according his own expression?
When seated in the driver's seat of Mercedes' SLR McLaren, what then would Edouard Heuer make of the dashboard and all its indicators?
Which indicator would he recognize as being implemented in the design of TAG Heuer's SLR?
Which indicator would he translate into his own watch?
Is it a logical thing to think that the clock in Mercedes' SLR McLaren is identical to TAG Heuer's SLR?
What aspects need to be changed for the driver of Mercedes' SLR McLaren to easily read the time indicated by TAG Heuer's SLR when it is implemented in the dashboard?
Should TAG Heuer's SLR for the dashboard be a little bigger than the wristwatch model?
Should the dashboard model be equipped with a backlight function?
Is the wristwatch model equipped with a backlight function?
Is the backlight function of the wristwatch model easily activated when driving e.g. a bike?
What about when walking the dusky border of a mountain lake?
Is the backlight of the wristwatch model easily activated by the driver of Mercedes' SLR McLaren when his is driving at night?
Would the design of TAG Heuer's SLR be misplaced when the driver gets out of his Mercedes SLR and goes for a drive in his Porsche 911?
When the word "SLR" is removed from TAG Heuer's SLR main numbered dial, would it then still be that the design of TAG Heuer's SLR is strong enough to be linked to Mercedes' SLR McLaren by someone who has never seen TAG Heuer's SLR?
Which Porsche would be resembled by TAG Heuer's SLR when the word "SLR" is removed from the main numbered dial?
Which characteristics in a sports car need to be sought for TAG Heuer's SLR, without the SLR-text, to be linked to?
Which parts of TAG Heuer's SLR need to be looked at first before continuing to look for that sports car that matches the characteristics of TAG Heuer's SLR?
What characteristics represent the 1/10th timekeeping capability of TAG Heuer's SLR?
In what way is it that this 1/10th timekeeping capability is so special that it could be matched to the characteristic of a high-end sports car?
Is this 1/10th timekeeping capability so revolutionary that it resembles an equally revolutionary aspect of Mercedes' SLR McLaren?
Does this revolutionary aspect of Mercedes' SLR McLaren have anything to do with time?
Is it perhaps the short time in which the designers of Mercedes' SLR McLaren came up with the design of the SLR?
Is it the short time that is needed by the computer management of Mercedes' SLR McLaren before the ignition can be turned on?
Is TAG Heuer's SLR 1/10 timekeeping capability needed by the driver of the Mercedes' SLR McLaren to be able to drive Mercedes' SLR McLaren?
What do drivers need in the Porsche 911 to drive the car? Meaning, is it also needed that the driver of a Porsche 911 is wearing a watch that has a 1/10 timekeeping capability?
Are there any watches that are linked to the Porsche 911?
If so, what is the difference in timekeeping capability between watches that are linked to the Porsche 911 and TAG Heuer's SLR?
What would it be if the watch that is linked to the Porsche 911 would have had a timekeeping capability of 1/1000th of a second?
What would this do regarding the 1/10th timekeeping capability of TAG Heuer's SLR? Would this 1/10th timekeeping capability still be regarded as being something that needs to be in TAG Heuer's SLR for it to be linked to Mercedes' SLR McLaren?
1/10th timekeeping is of course much slower than 1/1000th timekeeping. Could it be that the 1/10th accuracy of TAG Heuer's SLR is much better than the 1/1000th accuracy of the Porsche 911 watch?
What else can it be about 1/10 timekeeping of TAG Heuer's SLR that makes it better suitable to be used to reflect an aspect of Mercedes' SLR McLaren than 1/1000th timekeeping capability?
Is it not that the 1/10th timekeeping was already implemented in TAG Heuer watches before TAG Heuer's SLR was designed?
If so, how long has the 1/10th timekeeping already been implemented in TAG Heuer watches?
Has the 1/10th timekeeping ever been used in previous TAG Heuer watches to reflect certain aspects of the object that that watch was linked to?
For how many aspects of one or more objects can TAG Heuer 1/10th timekeeping be used to reflect those aspects?
Can it be TAG Heuer's 1/10th timekeeping can be used for aspects that are totality the opposite of each other?
Name three aspects for which such a thing goes?
How many aspects are present in Mercedes' SLR McLaren that can be linked to the 1/10th timekeeping of TAG Heuer's SLR?
Who is to decide which aspects could be linked to the 1/10th timekeeping of TAG Heuer's SLR?
Is there something within the wheels of Mercedes' SLR McLaren that can be linked to the 1/10th timekeeping?
Is it something with the valve of the wheel that is to be linked to the 1/10th timekeeping?
Perhaps the time it takes for the valve to spin around one complete circle in 1/10th of a second when Mercedes' SLR McLaren is driving about 100km/h?
Is the time for the valve to spin around one complete circle in 1/100th of a second when Mercedes' SLR McLaren is driving 200km/h?
Is there a difference in the diameter between the front and rear wheel of Mercedes' SLR McLaren?
Is it possible to come up with some nice wireless feature that when the valve in the rear wheel is going around in 1/10th of a second TAG Heuer's SLR will notify the driver about that fact?
Could one of such a feature be that TAG Heuer's SLR will store the time when that happens and can inform the driver later when he requests it by pressing a button, which will result in the main hands and the 1/10th hand of TAG Heuer's SLR to indicate that time?
Could such functionality be a reason to implement 1/10th timekeeping in TAG Heuer's SLR?
In what way is 1/10th timekeeping more an identity mark of TAG Heuer watches in general then it is for Mercedes' SLR McLaren?
Is the mechanism of TAG Heuer's SLR 1/10th timekeeping used in some indicators of the dashboard of Mercedes' SLR McLaren?
If so, in what way is this fact being made clear when seated in Mercedes' SLR McLaren?
Perhaps by simply using text near that indicator that says that in this indicator the 1/10th timekeeping mechanism of TAG Heuer's SLR is used?
What about using a real TAG Heuer SLR as an indicator?
Where in the dashboard of Mercedes' SLR McLaren could a real TAG Heuer SLR be implemented?
Is this spot on the dashboard of Mercedes' SLR McLaren the same as it is on the dashboard of the Porsche 911?
Should there be some sort of bracket holder on the dashboard of Mercedes' SLR McLaren where the driver can put TAG Heuer's SLR?
What should happen to TAG Heuer's SLR when it is placed in this bracket holder?
Is the mechanical layout of TAG Heuer's SLR already fit to be placed in such a bracket holder?
What should be used within this bracket holder that will make sure that the band of TAG Heuer's SLR will not make any sound when driving Mercedes' SLR McLaren?
What functionality can be implemented with respect to the 1/10th timekeeping capability of TAG Heuer's SLR when it is placed in this bracket holder?
What is the value of TAG Heuer's SLR when the 1/10th timekeeping is left out?
What aspect would be missed with respect to Mercedes' SLR McLaren when it is left out?
Would there be a stronger link to Mercedes' SLR McLaren when TAG Heuer's SLR is equipped with 1/100th and 1/1000th timekeeping instead of 1/10th and 1/100th timekeeping?
Is it not that 1/1000th timekeeping is something that is reserved for TAG Heuer watches that will be linked to a Formula1 car?
If so, what is the reasoning behind this thought?
Could such reasoning be that 1/1000th timekeeping is state-of-the-art timekeeping in TAG Heuer watches and therefore the sports car that such a watch is linked to should also be state-of-the-art, that is a Formula1 car?
What should be changed in the design of TAG Heuer's SLR to make it suitable to be linked to a Formula1 car?
What is the difference between the technique used in Mercedes' SLR McLaren and a Formula1 car?
Can it be said that the engine of Mercedes' SLR McLaren is not that delicate as the engine of a Formula1 car?
How many parts does the engine of Mercedes' SLR McLaren consist of? And what about the engine of a Formula1 car?
What engineering was needed to come up with the engine that is used in Mercedes' SLR McLaren?
What engineering is needed to come up with the engine that is used in a Formula1 car?
Is it not that the type of engineering needed for the engine of a Formula1 car takes the same kind of designer's mind like Edouard Heuer's when he engineered the winding mechanism for his watches that not needed a key anymore?
What state-of-the-art engineering was needed to come up with the 1/10th timekeeping of TAG Heuer's SLR?
Is this state-of-the-art engineering also visible in the engine technique used in Mercedes' SLR McLaren?
What kind of design can be found in the engineering of the steering wheel of Mercedes' SLR McLaren?
In what way can the design of the1/10th timekeeping of TAG Heuer's SLR be linked to the design of the steering wheel of Mercedes' SLR McLaren?
Where on the steering wheel can the 1/10th timekeeping of TAG Heuer's SLR be implemented? Meaning, only the 1/10th timekeeping and not completely TAG Heuer's SLR?
If the 1/10th timekeeping of TAG Heuer's SLR is state-of-the-art, what is it about this 1/10th timekeeping that makes it state-of-the-art?
Is the 1/10th timekeeping only classified as being state-of-the-art by the TAG Heuer Company or is this also classified state-of-the-art by the competitors of the TAG Heuer Company?
What effort is needed to engineer the 1/10th timekeeping of TAG Heuer's SLR?
What effort was needed for Edouard Heuer to engineer the seconds' timekeeping of his own watch?
How often did Edouard Heuer reengineered the seconds' timekeeping of his own watch?
What was the reason for him to reengineer the seconds' timekeeping?
In what way did Edouard Heuer's competitors try to implement the seconds engineering in their own watches?
In what way did this drive Edouard Heuer in trying to improve the engineering of the seconds' timekeeping?
Has it ever been that Edouard Heuer had to reengineer the seconds' timekeeping because the engineering had to be simpler for the seconds' timekeeping to be implemented on a larger scale in his watches?
If so, was this because Edouard Heuer's employees were not able to reproduce the complex mechanism of the seconds' timekeeping that Edouard Heuer had designed at first?
In what way was it that Edouard Heuer kept a keen eye on the tools and production methods that were brought on to the market to see if he could use these tools and production methods to improve the engineering of his seconds' timekeeping?
How much is the TAG Heuer Company able to produce a better engineering of the 1/10th timekeeping than the one that is now used in TAG Heuer's SLR?
If Edouard Heuer would be shown around the engineering department of the TAG Heuer Company would he then try to improve the seconds' timekeeping of his own watch?
Why can it not be that Edouard Heuer still has thoughts of how to improve the engineering of his seconds' timekeeping?
Is it not the engineer within Edouard Heuer that would like to see if the improvements that he thought of for the seconds' timekeeping will have the result that he expected, and moreover, to see the engineering work?
What would Edouard Heuer think if he compares the tools the engineers of TAG Heuer's SLR have at their disposal and the tools he had to work with?
Which would Edouard Heuer think requires more technical skill to engineer a state-of-the-art timekeeping mechanism, his own tools or the tools that the TAG Heuer engineers have at their disposal?
In what way is the technical skill of a watchmaker decisive for level of state-of-the-art engineering of a timekeeping mechanism?
Can a similar question be asked when it comes down to the level of design that is put into a watch? Meaning, one can have the best designer tools at its disposal but without a designer's mind a high-level watch design cannot be accomplished.
Is Mercedes' SLR McLaren a state-of-the-art sports car or does it contains major parts of its predecessors?
What can car journalists tell about parts of Mercedes' SLR McLaren predecessors being used in Mercedes' SLR McLaren?
If looked more closely into this, what can then be said about the reason the engineers of Mercedes' SLR McLaren choose to do this?
Is the reason for using parts of predecessors of Mercedes' SLR McLaren in Mercedes' SLR McLaren because those parts are a characteristic, an identity, of Mercedes sports cars?
Do these parts form a characteristic of Mercedes sports cars from a design point of view or from an engineering point of view?
If the engineers of TAG Heuer's SLR could have made a more state-of-the-art 1/10th timekeeping, is the reason for not implementing such timekeeping in TAG Heuer's SLR because the engineers of Mercedes' SLR McLaren also used parts of predecessors of Mercedes' SLR McLaren when they had the opportunity to use more advanced parts?
Is it from a marketing point of view to use parts in Mercedes sports cars simply because they sell?
Is a similar thing that a lot of people prefer e.g. the Ferrari F40 over a modern sports car that is equipped with all sorts of electronics and electronically intervention like four-wheel drive, traction control and ABS?
Can it be said that it is something about old-school sports car design, like the Ferrari F40, that is still highly appreciated by people nowadays?
In what way is it that it is also about performance, regarding old-school car design, that people miss when it comes down to modern sports cars?
What is it when driving a sports car that people want to feel?
Why is that people drive sports cars instead of normal cars?
Is it possible to combine that of old-school sports car design that people seem to miss modern sports cars with that what is possible regarding modern sports car design without losing all the good of old-school sports car design?
If so, can it then be said that Mercedes' SLR McLaren is a product of such a combination?
Is there such a thing like old-school design and engineering regarding watches?
Can it be said that the TAG Heuer designers implemented this old-school design and engineering in TAG Heuer's SLR?
If there is old-school design and engineering within TAG Heuer's SLR would Edouard Heuer then recognize it?
Is it right to say that in case of the TAG Heuer Company old-school watch design and engineering is Edouard Heuer's design and engineering?
Is the summon of TAG Heuer's SLR old-school design and engineering his own watch?
Is old-school watch design showing the clockwork that a watch is equipped with?
What would Edouard Heuer think when the designers and engineers of TAG Heuer's SLR would label Edouard Heuer and his own watch as the old-school watch design and engineering that they try to implement in today's TAG Heuer watches?
If Edouard Heuer would return to Saint-Imier, back to his watchmaking shop, with TAG Heuer's SLR and a picture of Mercedes' SLR McLaren in his mind, what then would he do when seated himself among his tools?
What would go through his mind after placing TAG Heuer's SLR and his own watch side by side on his engineering table?
Would he really notice a big difference between the design of his own watch and TAG Heuer's SLR?
Would he be filled with joy to see that his design of the numbered dial that keeps the seconds is still being used after so many years?
Would he think of the amount of time, the many trials, it took for him to finally succeed in engineering the clockwork that can keep time of the seconds?
Would Edouard Heuer also feel a little bit worried that after so many years modern TAG Heuer watches are still equipped with a similar numbered dial, even though it is no longer for seconds but for 1/10th and 1/100th timekeeping?
Would it also have been his decision to use the same numbered dial design for the 1/10th timekeeping of TAG Heuer's SLR as the one that he used for his seconds' timekeeping?
Would he not think that the designers of TAG Heuer's SLR should have come up with a different design for the 1/10th and 1/100th timekeeping, given the fact that such timekeeping should have its own numbered dial design given the state-of-the-art technology that is needed to do this timekeeping in a watch?
What would Edouard Heuer make of the numbered dial designs of the 1/10th and 1/10th timekeeping when walking the mountains of Saint-Imier?
What legendary design would he start to design for the 1/10th and the 1/100th timekeeping of TAG Heuer's SLR with the picture of Mercedes' SLR McLaren in the back of his mind?
To what level will he bring the new design of the 1/10th and 1/100th numbered dials of TAG Heuer's SLR with his innovative designer's mind?
It is possible to continue on this subject but for now it ends here.