Life after graduation: Foundation Degree in Clocks with Takumi

Posted on 11th June 2026

Hi, my name is Takumi Hamano. I’m originally from Japan, where I worked as a clockmaker before coming to the UK. I wanted to study horology in Britain because of its long history and tradition in clockmaking, so I enrolled on the Foundation Degree in Clocks at West Dean College, graduating in 2025.

Before studying at West Dean, I trained and worked in Japan in clock and watch repair, but during my time in the UK I became increasingly interested in historic horology, conservation, and the cultural significance of mechanical objects.

From December 2025 to April 2026, I worked on two major projects at The Clockworks Museum in London. One involved the conservation and installation of a Normalzeit controlling clock system, and the other focused on a rare Gent Thornbridge movement displayed inside a glass tank.

These projects involved mechanical restoration, electrical systems, custom fabrication, testing, and exhibition preparation. Because the clocks were intended for permanent public display, reliability and historical sensitivity were equally important throughout the process. Having my conservation work permanently displayed in a museum was the first experience of its kind in my career, and it was both an honour and a deeply rewarding experience. It gave me a strong sense of both responsibility and pride as a clockmaker and conservator.

Since May 2026, I have been working at Harris Horology in London as a clockmaker, carrying out the repair, restoration, and servicing of antique clocks.

West Dean prepared me extremely well because the course was very hands-on and object-focused. We were not only learning mechanical repair techniques, but also conservation ethics, historical research, documentation, and how to make careful treatment decisions.

One of the most valuable lessons was learning to respect the historical integrity of an object rather than simply restoring it to look new. That way of thinking became especially important while working on museum projects, where every intervention needs to be carefully considered and justified.

The college also encouraged independent problem-solving and collaboration with students and craftspeople from other disciplines, which helped prepare me for professional conservation and workshop environments.

What fascinates me most about horology is that clocks are much more than machines for measuring time. They contain history, craftsmanship, engineering, design, and human stories all at once.

Growing up in Japan, I became especially interested in the differences between traditional Japanese clocks and Western horology. That curiosity eventually led me to Britain, where I wanted to study English clockmaking traditions more deeply.

I also love the balance between technical precision and creativity in horology. Even after hundreds of years, these mechanisms can still move people emotionally, which I think is something very special.

One recent project I worked on was the Normalzeit controlling clock system at The Clockworks Museum. It was particularly challenging because it combined mechanical, electrical, and exhibition-related problems all in one object.

A large part of the project involved testing, adjustment, and developing solutions that would allow the clock to operate reliably for visitors while still respecting its historic character.

I found the project both demanding and rewarding. Conservation work often requires patience and flexibility because unexpected problems appear constantly, but seeing the clock finally running successfully in a museum setting made the entire process worthwhile.

At college, you are learning in an environment where experimentation is encouraged, but in professional conservation work you are dealing with irreplaceable historic objects and real public or client expectations.

There were also difficult periods along the way, including the pandemic and the challenges of studying abroad while improving my English. However, after completing my studies at West Dean and continuing into professional work in the UK, I feel a great sense of gratitude and confidence in having achieved my dream of becoming a clockmaker in Britain.

Working at The Clockworks Museum and later at Harris Horology helped me understand how conservation principles apply in real-world situations, where practicality, historical sensitivity, and reliability all need to be balanced together.

One of the biggest lessons I have learned is that conservation is rarely about finding a perfect answer. It is about making thoughtful decisions with respect for both the object and its history.

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