out—
look
issue 01/2014
History
Art
Aerospace
Innovation
Gourmet
Jet aviation
Cover Story
Prada
Dear business frienDs
anD colleagues,
It is a great honor and privilege for
me to address you for the first time in
this forum as President of the
Jet Aviation Group. Since taking over
at the beginning of the year, one of
my priorities was to meet with clients,
business partners and OEMs. Not
surprisingly, this has been much more
exciting than crunching numbers!
Through these discussions I continue
to gain a better understanding of our
customer needs, concerns and
expectations when entrusting their
business to Jet Aviation. I understand
the importance of open dialogue
in building and furthering relationships – which I and the rest of the
Jet Aviation team commit to provide you.
Globally, the Jet Aviation leadership team continues to endorse new
initiatives that further promote
and improve safety standards in every
aspect of our operation. Jet Aviation
has been ensuring your health
and safety for almost half a century,
and this is a responsibility we take
very seriously. In addition, the team is
committed to company-wide continu-
ous improvement to help achieve
efficiencies, reduce aircraft downtime
and improve the customer experience.
Looking across our portfolio
of businesses, I am confident that you
will agree that we have accomplished
a great deal. On the MRO front,
I am very pleased to inform you that
our new state-of-the-art, 7,500 square
meter hangar facility at Seletar
Aerospace Park in Singapore is in the
process of opening (page 51) after a
year of construction. Large enough to
accommodate a Boeing Business Jet
or an Airbus ACJ and permitting up to
five Gulfstream G 650 or five Bombardier Global Express 7000 aircraft,
we are delighted to be able to meet
the demands of large aircraft owners
and operators flying in Asia. We
are also advancing our narrow-body
capabilities in St. Louis to better
meet the needs of Boeing Business Jets
and Embraer Lineage 1000 customers
(page 53 ). And in addition to the
appointment of St. Louis last year,
Rolls-Royce has just selected our MRO
hubs in Basel, Dubai and Singapore
to join its network of authorized line
maintenance and warranty support
centers for its engines.
I am encouraged by recent developments at the Basel Completions center
as well. The company was awarded a
VIP cabin interior completions contract
for an ACJ-A 320 aircraft in January
and the Completions team just
re-delivered its second narrow-body
completions project of the year –
both of which were delivered ahead of
schedule. At St. Louis, the Completions
team continues its strong performance, re-delivering four Bombardier
aircraft to date this year, also on
time or early, while continuing to meet
the highest quality standards.
From an FBO standpoint, our
global refurbishment and corporate
rebranding program launched last
year to enhance passenger amenities,
customer services and facilities
has already received public accolades
(page 56 ). Passengers and crew
arriving at our FBOs in EMEA and
Asia will also soon see a new look, as
we introduce uniforms designed to
present a more consistent image with
those worn at our FBO facilities in
the U. S.
Our global aircraft management
services continue to earn the trust
of aircraft operators, while Jet Aviation
Flight Services in the U.S. has just
expanded its charter agreement with
Wheels Up to provide the private club
more jet options (page 57 ).
I urge you to read more about
Jet Aviation’s news and events in
Outlook’s Jet Aviation Inside section.
For those of you in Geneva for
EBACE , I would also like to invite
you to visit me at our booth (# 418 ).
Ensuring your safety and the
ongoing delivery of quality personalized services that you’ve come to
expect from Jet Aviation is my priority.
Your feedback is important and I look
forward to meeting or hearing from
you soon: robert.smith@ jetaviation.ch.
All the best,
Rob Smith
President
Outlook 01/2014 // 3
Contents
06
Editorial
03
Cover story
06 Prada
History
14 Tut
Ankhamun –
His tomb
and his
treasures
24
30
Art
24 Hannes
Schmid
42
Aerospace
14
30 The Falcon
5 X
Innovation
36 Maxon
Motor
Gourmet
42 Hiltl –
Europe’s oldest
vegetarian
restaurant
Jet Aviation
50 Inside News
36
Prada
Design from intellect
and intuition
Miuccia Prada took
over the family luggage
business in 1978
and turned it into a
global fashion power­
house. She had not
grown up learning
to sew and dreaming
of being a designer;
instead, she had
earned a doctorate in
political science
and trained as a mime.
She married Patrizio
Bertelli, an equally
strong, bright person­
ality with a similar
love of art and a solid
head for business.
The two of them have
joined intelligence,
intuition and bursting
energy to create a
brand in touch with art
and change.
6 // Cover Story // Prada
Outlook 01/2014 // 7
Prada’s Transformer
building in South Korea
was designed for
­dynamic presentation of
art, fashion, cinema,
­culture and architecture.
The Transformer
on the grounds
of Seoul’s Gyeonghui
Palace. Prada
worked together with
Korean students.
Skirts designed
by Korean fashion
students were
displayed, as were
skirts designed
by Miuccia Prada
In 2009, Prada built the Transformer in
South Korea, on the grounds of Seoul’s
Gyeonghui Palace. The Transformer is
a movable building that unites the four
sides of a tetrahedron – a hexagon, a
cross, a rectangle, and a circle – into
one structure. The sides are covered by
an elastic membrane of the sort used to
wrap abandoned airplanes in the desert.
The structure can be rotated using four
cranes, and each configuration creates
a different space.
The hexagonal floor plan was
­designed for an exhibit presenting a
selection of Prada skirts, as well as
­
skirts by Korean fashion students. The
rectangular floor plan was used for
“Flesh, Mind and Spirit,” a series of
films selected by “Babel” director
­A lejandro González Iñárritu. An exhibition by the Swedish artist Nathalie
Djurberg was held on the cruciform
floor plan, and the circular floor plan
hosted an exhibit of new works and
ideas by ­Korean students on the theme
of ­“ transformation.”
The goal was to present fashion, art,
cinema, culture, and architecture in
one dynamic spot. In many ways, the
project was a physical manifestation of
the diverse influences on Miuccia
Prada, and, in turn, her impact on the
world around her.
Far from someone who grew up
­intending to design and learning the
trade with single-minded focus, head
designer Miuccia Prada got a doctorate
in political science from Milan Univer-
Allegra
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Conflicted about joining the
business at first, Miuccia
Prada eventually discovered
the power of fashion to
shape identities.
Expanding at
its roots
Prada’s first location, in Milan’s Galleria Vittorio Emanuele II (top).
The Prada Epicenter in New York (bottom left). Prada’s Los Angeles
Epicenter (middle right). The Tokyo Epicenter (bottom right).
Opposite: Miuccia Prada and Patrizio Bertelli. The black nylon
backpack that was their first great design hit
10 // Cover Story // Prada
Near its original store, in
Galleria Vittorio Emanuele II,
the late 19 th century double
arcade shopping mall that
connects Milan’s cathedral
with the La Scala opera
house, Prada is creating yet
another multi-use space with
a men’s wear store, a restaurant and a display space for
the Prada Foundation.
sity and, for a while, intended to b
­ ecome
a politician. She then spent five years at
Milan’s Piccolo Teatro, training as a
mime. At the end of this time, somewhat­
reluctantly, she began working in her
family’s luxury luggage and accessories
business.
She was conflicted about fashion.
She has said she thought you had to
“give up your brain” to become a fashion designer. Over time, she began to
see the power of fashion to communicate ideas and concepts. She also
­r ecognized the immediacy with which
fashion can respond to current events,
and how it can shape identity.
In 1977, she met Patrizio Bertelli,
the Tuscan entrepreneur who was to
become her husband and the driving
business force in the company. After
she experienced great success with one
of her first designs, a backpack made
from black nylon trimmed with leather,
he urged her to do a line of women’s
clothing. Prada’s first clothing collection was in 1988.
Miuccia Prada is full of contra­
dictions and conflicts. She is always
thinking and questioning, and her work
comes out of this complex interaction.
She adds intuition to her intellectualism
and creates fashion that moves people.
She is regarded by many as the world’s
most influential designer.
Bertelli has a sharp sense for business. Prada has said that he is the one
who has pushed for her and the company to take many of the risks that have
made the fashion house so successful.
She and Bertelli share a strong
i­nterest in contemporary art and are
active collectors. In 1993 they created
the Prada Foundation to promote “the
most radical of intellectual challenges
in art and contemporary culture.”
For years Prada and Bertelli made a
point of keeping their foundation and
other arts activities fairly separate from
their fashion business. Now the various
elements are flowing together more and
more.
In 2008, the company announced
that the Prada Foundation would have
a permanent location in southern Milan,
in an early- 20 th - century industrial
complex which Rem Koolhaas, the
­r enegade Dutch Pritzker Architecture
Prize Laureate who designed the Transformer, is revamping. Beginning in
spring of 2015, the location will exhibit
selected works from the foundation’s
permanent collection, as well as special
exhibits and installations.
These new projects seem to be a
continuation of the mixing that has
taken place in the three “epicenters”
the company has created. The epi­
centers are the Prada’s answer to the
monotony that can seep in as a company expands, creating more and more
similar stores. It is also a way for Prada
to make its shopping experience stand
out in large cities that already have a
surplus of exciting buildings and stores
clamoring for attention.
The three epicenters, in New York,
Tokyo and Los Angeles, have striking
architecture as well as a design inOutlook 01/2014 // 11
Iconic Prada shoes and bags (left and
bottom). Prada’s Candy fragrance (top).
Opposite: Luna Rossa near San
Francisco (top). Mario Prada (middle
left). Lizard bag in marcasite and
lapis-lazuli buckle, 1918 (middle right).
The Prada van that was used to
deliver purchases to customers’ homes
in the early days (bottom right)
America’s Cup
Patrizio Bertelli is known as a man
with a strong will and powerful
energy. In February of 1997, Bertelli
was talking to the Argentinean
yacht designer Geran Frers about
the construction of a cruise ship.
Frers challenged Bertelli by saying
the CEO would be the right
person to launch an Italian bid for
the America’s Cup. Bertelli, who
had sailed competitively in the 1970 s,
said, “Let’s do it.”
Within fifteen days they had
planned the core of the project, and
three years later, the “Luna
Rossa” was runner-up for the
America’s Cup.
New Swiss stores
Prada is opening three new stores in
Switzerland. The Geneva and
Lugano stores will have the classic
checkered floor of black-and-white
marble, with Prada-green walls.
The Crans Montana location will
follow the company’s style for
mountain stores, with larch panels
and local stone in a local, traditional
architectural style. With these
new additions, Prada will have seven
Swiss stores.
12 // Cover Story // Prada
tended to accommodate not only
merchandise, but also public events.
­
The New York store, designed by Koolhaas and his Holland-based Office for
Metropolitan Architecture ( OMA ), has
a wooden “wave” that sweeps from the
ground floor down into the basementlevel and back up. It can be used to
display merchandise, or a stage can be
flipped out of one side and the space
used for concerts or film viewings.
Overhead is the “hanging city,” a collection of large cage display units that
can be reconfigured to suit changing
uses of the store.
The dressing rooms are see-through
boxes that become opaque at the touch
of a button. Once in the box, customers
can get product information, order
­additional items, and also freeze an
­i mage of their backside.
Koolhaas also designed the Los
­A ngeles epicenter, which features green
resin sponge walls. The Tokyo epi­
center, an asymmetrical building with
a diagonal metal grid filled with convex
and concave green glass windows, was
designed by Switzerland’s Herzog & de
Meuron.
Image is vital in fashion, and there
is a strong synergy between the personal interests of Prada and Bertelli
and elements designed to make the
Prada brand appealing. When the company is marketing, there is no doubt it is
a commercially driven activity. The fact
that the artistic, edgy image being sent
out has strong roots at the head of the
company, however, gives the message a
certain depth.
The business
Prada was founded in 1913 by Miuccia
Prada’s grandfather, Mario. The Fratelli
Prada store sold leather bags, trunks,
beauty cases and luxury accessories in
Milan’s exclusive Galleria Vittorio
Emanuele II. In 1919, the company
was appointed “Official Supplier to the
Italian Royal Household.”
Miuccia joined the store in 1970 and
took it over in 1978. Patrizio Bertelli,
who she had met the year before she
took control of Prada, almost imme­
diately became a vital force in the
­company. The two of them modernized
the inventory, and in 1984 they introduced the black nylon backpack that
was to become their first wild success.
Today, Prada produces men’s and
women’s leather goods, clothing and
footwear, as well as eyewear, fragrances
and mobile phones. The Prada brand is
part of the Prada Group, which also
includes the fashion brand Miu Miu;
Church’s, a high-end men’s footwear
manufacturer established in the British
town of Northampton in 1873 ; and Car
Shoe, inventor of the original driving
moccasin.
The Prada Group is present in 70
countries and has 540 directly operated
stores. On June 24, 2011, Prada listed
20 % of its shares on the Hong Kong
stock exchange, where the company
was valued at just over $13 billion.
Outlook 01/2014 // 13
Tutankhamun: His Tomb
and His Treasures –
Reproducing a sense of
discovery
When Howard Carter discovered the tomb of
Tutankhamun in 1922, the treasures of
the boy king captured the imagination of the
world. Tutankhamun: His Tomb and His
­Treasures exhibits replicas of over 1,000 of
the approximately 5,000 pieces found in
the young king’s tomb. The use of repro­
ductions, and the careful attention of a team
of Egyptologists, producers, artists and
an architect, provides a visible context for
the excitement the ancient artifacts have
generated then and since, pulling the visitor
into the world of exploration and discovery.
The Valley of the Kings is dry and inhospitable. It was carved from a plateau
by ancient rains, and now it stands
­baking in the Egyptian sun. For 400
years, beginning around 1450 BC, the
Egyptians buried their pharaohs here,
near present-day Luxor, to the west of
the Nile River.
The Nile is the lifeblood of Egypt,
the precious resource flowing through
an arid land, nurturing life in its floodplains. On the east bank the ancient
Egyptians built the things of daily life
– houses, shops, temples. The west was
the direction of the underworld, where
the sun died each day, and it is here that
they buried their dead.
When a pharaoh came to power, a
whole team of workers and artists
would begin preparing his tomb and
the objects that would be sent with him
to the afterlife. After the pharaoh’s
death, his mummy and these items
would be sealed in the tomb, in the
hope that they would remain safe from
grave robbers.
Archeological excavation in Egypt
began with specialists Napoleon
brought to the area at the beginning of
the 19 th century, and it has not stopped
since. Many tombs were discovered,
giving insight into Egyptian beliefs
Outlook 01/2014 // 15
for the new emperors
When the world
saw images
of the tomb and
its treasures,
a new wave
of Egypto­mania
was set off.
about the afterlife and revealing some
fascinating treasures. Grave robbers
had always beaten archeologists to the
graves, however, and most of the riches
were missing.
In 1922, Howard Carter discovered
a tomb with doorways that were still
sealed. Though there had been some
robbery shortly after Tutankhamun’s
burial, very little had been taken, and
the tomb still contained over 5,000
pieces of unimaginable diversity and
richness.
16 // History // Tutankhamun
Valley of the Kings, with the fertile Nile
floodplain to the east
When the world saw images of the
tomb and its treasures, a new wave of
Egyptomania was launched. Objects
from the tomb traveled abroad for the
first time in 1961, and the exhibit was a
huge success. There have been several
subsequent exhibits, all quite limited
in the scope of the pieces, and all
extremely well received. Whether
­
pieces can be sent abroad has always
been a matter of complex domestic and
diplomatic discussion. It is not clear
whether an exhibition of originals from
the Egyptian Museum will ever take
place again outside of Egypt.
An idea is born
The new Egyptomania inspired many
films, including various mummy movies.
Props and sets for the films were often
made in Egypt.
In 2002, Wulf Kohl, a German who
has been living in Cairo for over three
decades, came across a jumble of such
items belonging to a film company.
They were all piled up in a corner, and
Kohl imagined this was similar to how
it must have looked when Carter first
entered the tomb. Kohl thought this
might be the way to give a feeling for
that discovery. He believed this could
give viewers a better understanding
than they would gain seeing the objects
isolated in glass cases.
He spoke to his friend Paul Heinen
in Hamburg, who had a background in
event management. The two joined
forces with the concert producer Dieter
Semmel, and Semmel made Christoph
Scholz the producer in charge of the
project.
The traveling exhibition is a commercial venture, with creators who
care a lot about the accuracy and
­legitimacy of the exhibit. Scholz hired
the German Egyptologists Wolfgang
Wettengel and Martin von Falck as
­scientific advisors. He brought in the
architect Rainer Verbizh, who specializes in designing museum exhibits.
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revolutionary by tradition
The sun god shining on
Tutankhamun and his
wife Ankesenamun (left).
Howard Carter opening
the outer coffin (upper right).
The English archeologist
Howard Carter (lower right)
18 // History // Tutankhamun
Most participants shared initial
concerns about working with replicas.
They all say, however, that the experience has shown them the many benefits
of this kind of exhibit, and how it fits
into the archeological landscape.
When Tutankhamun artifacts have
traveled outside of Egypt, they have
been limited in number, which has
made it impossible to create a complete
picture. Often important pieces were
too large, fragile or valuable to send
abroad.
At Tutankhamun: His Tomb and His
Treasures, visitors begin their visit by
watching a film that tells the story of the
discovery. The next room contains
mock-ups of the chambers inside Tutankhamun’s tomb and their contents as
Carter first saw them. An audio guide
offers more details, and old photographs
give a further feel for the historic days of
discovery. In subsequent rooms, the over
1,000 items are shown again, grouped by
subject, with explanatory texts.
Although the pieces are replicas,
their size and splendor are imposing
and dazzling. The visitor recognizes
the level of artistry and effort that went
into this work, and as the architect
­Verbizh says, “gets a strong feeling for
the incredible power of the belief in the
afterlife.”
The exhibit features full-size replicas of the elaborate housings that
surrounded Tutankhamun’s mummy.
­
Closest to his body was the famous gold
mask. Then came three coffins, which
were nested like babushka dolls, and
placed in a sarcophagus. There were
then four nested shrines surrounding
the sarcophagus.
Seeing these pieces grouped together gives a visceral impression of
their grandeur. The other pieces in the
exhibit provide insight into the daily
life of a pharaoh and the religious
­beliefs of ancient Egypt.
Some of the materials used are the
same as are found in the original pieces.
Some are not, for reasons of cost, weight
and practicality. The dimensions and
details are identical to the originals.
Creating the
reproductions
The production of the replicas was
overseen by Wulf Kohl, in Cairo. Kohl
had trained as a window dresser in Germany, then became a graphic designer.
After many years working in diverse
aspects of graphic design and advertising, he traveled around the world for a
year, then visited a friend in Cairo. The
friend said, “You know, they don’t have
Yellow Pages in Cairo.” The two set
about creating the phone book, which
they then sold to a company from Dubai
for a healthy profit. So Kohl became
Cairo-based with the freedom to pursue what interested him. He is a natural
entrepreneur and a rebel, with a shy,
soft-spoken manner.
Organizing the production was not
an easy task. Creating over 1,000 pieces
that required intricate craftsmanship
meant involving a wide array of
specialists in sculpture, carpentry,
­
jewelry-making, coloring, painting,
­
c eramics, alabaster work, molding
­
and much more.
Kohl did many of the measurements.
The dimensions of the pieces had to be
perfect, and for most pieces, measurements had not been recorded. He also
made some of the objects himself.
Tutankhamun’s funerary mask
(left). The pieces in the
exhibit were handcrafted with
painstaking attention to detail.
Wulf Kohl (bottom right)
in front of jumbled treasures
Outlook 01/2014 // 19
The art professor Mostafa
El-Ezaby at work (upper left).
El-Ezaby carefully trained
a staff and hired experts to
help with the extensive
handwork
For the main pieces, such as the
golden mask, the shrines and the coffins, Kohl turned to Mostafa El-Ezaby.
El-Ezaby has a doctorate in pharaonic
art and is an Associate Professor of Art
at Minia University.
El-Ezaby grew up in a poor village,
where children would often pass the
time by drawing and playing with clay.
When he was 18 he recognized his
­t alent and began to study art. Given the
interest among collectors in ancient
Egyptian art, he soon began making
replicas of ancient pieces.
­ egree,
He went on to get a master’s d
focusing on the position of ancient
Egyptian artists between freedom of
expression and their obligation to the
pharaoh. Then he earned a doctorate
for work analyzing the engineering
­r elations in ancient Egyptian sculpture.
As he looked at the structures and
laws inside pharaonic art, El-Ezaby
says that he began to think the art was
like architecture, that it was perfect.
20 // History // Tutankhamun
This perspective prompted a change in
his own work. He looked at his replicas
and said, “Rubbish. It is just rubbish.”
And he began again from scratch.
As he made the new replicas, ElEzaby studied photographs and visited
the pieces in the Egyptian museum. He
says the most important thing is getting
the feeling. He would go back to the
museum every day, sometimes more
than once, trying to feel the difference
between the old and the new kingdom;
a figure standing, sitting or moving; a
man and a woman. He would study the
eyes and study the hands.
El-Ezaby says the hardest piece he
made for Semmel was the golden Tutankhamun funerary mask. He had
made his first replica of the mask years
before, in 24 hours, and had thought it
was perfect. This next time it took him
five months.
He began with a rough clay sculpture of the mask, which he covered with
plaster. He added details to the plaster,
then covered it with rubber to make a
mold, which was filled with polyester.
He used electroplating to coat the
polyester statue with metals. In this
process, a bar of metal is put into a
­solution that conducts electricity, and
electrical charge is used to dissolve
metal from the bar and attract it to the
mask. In the first bath, the mask was
plated with copper. This was difficult,
because polyester cannot carry an
­electrical charge, but El-Ezaby says he
has developed a special process. In the
­second bath, a layer of silver was put
over the copper, and in the third bath,
the final gold layer was added.
El-Ezaby then concentrated on the
details. He spent two days, working
day and night, on the eyes alone. He
would move them a millimeter to one
side and then the other. It had to feel
exactly right.
When the mask was being sent
to ­
Zurich for the first exhibition, it
was held up in customs at the port in
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Canopic shrine to house the
liver, lungs, stomach and
intestines of the pharaoh,
protected by goddesses Isis,
Nephthys, Neith und Selket
(top). The Anubis shrine
(bottom)
­ lexandria. Officials called the EgypA
tian museum to make sure it still had
the original.
Semmel now runs two exhibitions
concurrently, and a third set of replicas
is in production. Each exhibit requires
two identical sets of pieces, the first for
the depiction of the tomb rooms as they
were found, the second for the standalone items. El-Ezaby created all prototypes himself, then hired specialists
and trained additional staff to help
with the phenomenal amount of handwork, including inlay, engraving, and
painting, that goes into the production
of the pieces.
Martin von Falck traveled to Egypt
multiple times to make sure all hieroglyphics were correct, and Wolfgang
Wettengel also looked after the accuracy of the production. The Egyptologists worked with the architect Verbizh
as they planned the displays. Scholz
and his staff coordinated the overall
effort. The team is still quite close. They
attend premieres together and talk
about further developments for the
­exhibit. “If it hadn’t been for everyone
of us,” says Wettengel, “this project
never would have worked.”
Ancient treasures
Seeing the shrines and coffins together
creates a strong impression of their grandeur
and the power of the belief they represent
(top). Ptha, the god of creation (left).
King Tut presented as an accomplished
hunter (right)
22 // History // Tutankhamun
Standing in Tutankhamun’s tomb in
the Valley of the Kings, contemplating
paintings that were done by a human
hand, right there, more than 3,000 years
before, is a powerful experience. It is
both hard to comprehend and moving.
It gives a feeling of shared humanity – of
a link across time and distance.
Similarly, in the Egyptian Museum
in Cairo, the treasures from the tomb
have a stunning, elusive quality. The
animal figures are bursting with
­character. The lines and curves of the
sculptures are captivating.
There is so much to understand
about Tutankhamun and his treasures.
There is the beauty and artistry, the
­religious background, the hints about
daily life, family structure, social hierarchy, wars. The more one understands,
the richer the experience becomes.
For those who cannot travel to
Egypt, the replica exhibit offers a
glimpse into a world they would otherwise have missed. For those who may be
fortunate enough to view the originals
in the future, this is a first glimpse, an
introduction that will lay the groundwork for a deeper understanding.
Zahi Hawass, former Minister of
Antiquities and for many the face of
Egyptian archeology, believes the
­educational aspect of the exhibit is the
most important part. He talks about
having seen hundreds of Swiss schoolchildren in Geneva learning about the
young king and the country of Egypt.
“This is really how antiquities
should work,” he says. “We can use replicas for education, and these replicas
will encourage people to come to
Egypt.”
This is a tough time for Egypt. It is a
good time for the world to be reminded
of the country’s riches. Egypt needs
i ncome from tourists, exhibits and
­
sponsors to maintain and protect its
antiquities.
Tutankhamun is the star of Egyptian antiquities. “The tomb, gold, 5,398
pieces, the world of curse,” says H
­ awass.
“‘Tutankhamun’ means gold, mystery,
and magic.”
Over 5 million people have viewed
Tutankhamun: His Tomb and His Treasure. The exhibits have visited 20 cities
in Europe and Asia. One is being showing in Linz, Austria through June 29 th.
On April 4 th, the first US showing
opened in Kansas City under the name
“The Discovery of KING TUT.” The
­exhibit will be there through July 9 th,
before moving to San Diego.
“The tomb, gold,
5,398 pieces,
the world of curse,”
says Zahi Hawass.
“ ‘Tutankhamun’
means gold, mystery,
and magic.”
Outlook 01/2014 // 23
Hannes Schmid – Armed
with insatiable curiosity and
a camera
Hannes Schmid headed out into the world with interest,
youthful energy and a camera. The results were photographs of
isolated tribes, rock stars and eventually fashion models at the
Everest base camp or among a herd of elephants. He re-imagined
the Marlboro cowboy and recorded ancient Chinese ritual opera.
Today, his attention is tuned to culture and change in Asia.
24 // Art // Hannes Schmid
Hannes Schmid says that people tend
to talk about his life more than his
work. At first it sounds like maybe he
finds this is a bad thing. Then he says,
“I think my life is as strong as my art.
I really went my way.”
After growing up in a poor Swiss
family and completing an apprenticeship as an electrician, he and some
friends decided to move to South Africa.
At the time, the country needed tradesman, and the South African consulate
would pay their airfare.
He bought a used camera, and he
took some courses at a local university.
He quickly discovered that the camera
opened doors. He once ended up in one
of Cape Town’s toughest neighborhoods,
and instead of acting aggressively, the
locals posed for pictures. Then they
asked whether he was coming back the
next day, and he said yes.
He later headed off and traveled
around Africa for four years, shooting
film and sending the rolls to his sister in
Switzerland, who would have them
­developed. She would then send him
an airmail letter, letting him know if
the photos were too light or too dark.
After Africa, Schmid traveled in Asia.
Interested in the adventures and
disappearance of Michael Rockefeller
in West New Guinea, Schmid then
headed into the forest to find the Dani
tribe. The tribe practiced a ritual form
of cannibalism, eating certain body
parts of vanquished enemies, so that
these enemies would have to serve them
in the afterlife.
After a few months alone in the
­forest, he was discovered by some of
the warrior tribesmen. During his first
days with the tribe, Schmid was beaten
repeatedly, and then, slowly, he was
t­olerated as he observed the culture
and took photographs. The tribe members had no idea what his camera was.
He stayed for a few months, then headed
off to continue following Rockefeller’s
footsteps.
Schmid was an adventurous, curious, perhaps foolhardy young man.
And this experience went on to have
quite an effect on his life. Years later,
when a friend took him to a dinner with
the British rock band Status Quo, the
musicians wanted to kick him out, because they did not like photographers.
The friend convinced the group to let
Schmid stay by explaining that he was
a crazy guy who had lived with cannibals. After dinner the band’s manager
asked whether he had really photographed cannibals. When Schmid said
yes, the manager asked him to photograph the band.
Outlook 01/2014 // 25
Freddie Mercury of Queen (top).
Nina Hagen (bottom left). Image
for Marlboro (middle right).
Marlboro image reproduced with
oil on canvas (bottom right)
The Dani, in western
New Guinea
This was the beginning of eight years
of photographing 250 bands, from “ ‘A’
like Abba to ‘Z’ like Zappa.” He would go
on tour with the band, into the studio and
sometimes even on vacation with them.
The really lucky musicians would get to
visit to his home canton of Thurgau, and
learn to ski, while staying with Schmid’s
mother, who would make them traditional meatballs and mashed potatoes.
Schmid says the bands and their
managers liked him because he had a
certain sensitivity – he knew when to
stand back and when to step up. He enters new environments slowly. “My top
priority is respect and being humble,”
he says. “I don’t want to be an intruder.”
And he was willing to carry suitcases
while the band got to know him.
His travels would be different today.
Cameras are common and they no
­longer open doors in the same way. He
points out that most of the major events
of the past ten years were photographed
by people on the street rather than professional photographers. He says today,
as a professional photographer, “You
have to find a niche to stick out of that
huge ocean of a picture world.”
26 // Art // Hannes Schmid
He also says, provocatively, that he is
not really a photographer, that he was
never really interested in his pictures.
When Schmid started taking pictures in
Africa, he did not see the photos until he
got home after four years. “I came home
and it was the biggest disappointment to
me,” he says. “It was nothing. It was
nothing like what I thought they should
look like.” He says this led him to develop
a stronger relationship to the process of
making a photo than to the image itself.
A different world
When Schmid was catapulted into the
world of fashion photography in 1984,
however, it turned out that many people
liked his photographs quite a bit. The
magazine GQ was launching a German
version, as “Men’s Vogue,” and for the
first issue, the editors wanted an article
on the punk-rock star Nina Hagen.
They hired a famous fashion photographer, with whom, ten minutes into the
photo shoot, Hagen had a fight before
storming out. She then demanded
Schmid.
Fashion photography was radically different than what he had been
doing. “Before I always had to wait
until things happened,” he says. “Then
I moved to fashion and I started to
realize, wow, now I can create my own
world.”
Schmid’s own world involved taking
models out to extreme locations and
insisting, much to the chagrin of the
stylists, that they get dirty or wet or cold
or whatever it was that a normal human
being would be in those circumstances.
He rebuilt his 35 -millimeter camera to
shoot more frames per second, because
the wind, snow or dust was sometimes
so extreme that he would only have two
minutes to shoot. He was known for
delivering surprising, interesting work,
and one fashion magazine after another began calling.
Philip Morris became aware of him,
and hired him to re-envision the
Marlboro Man. Shoots for Marlboro
­
were elaborately, meticulously staged.
Schmid says four days of shooting
sometimes cost more than Hollywood
was spending on entire feature films.
He once had 20,000 kilograms of dust
A new medium
In 2003 Schmid began
creating large photorealistic
oil paintings of some of
his Marlboro Man photographs. The paintings
have been displayed in New
York and several Swiss
locations.
Outlook 01/2014 // 27
Schmid joined the BAR Honda
F1 Racing team in Bonneville,
Utah, as the team worked to
set the first land speed record
for a Forumula 1 car
Ritual street opera in Singapore
Schmid returned to the theater
repeatedly, and after four
years, he was allowed to photograph
backstage.
Hannes Schmid was born in Zurich
in 1946 , and he spent much of
his childhood in the mountainous
Toggenburg region. His father
was a baker, and when Schmid
was young, he tended goats in
the summer. He is now based in
Zurich with his wife and two
children, though he is constantly
on the move.
brought in to create a special hazy effect
in the red early-morning light. The
crew built rivers, towns and portable
corrals.
“The ads gave a thirst for the West,
to enjoy this freedom,” he says. He had
entered the process fascinated that
something created by a commercial
company had become the iconic image
of America. He also found it entertaining that a Swiss guy from a mountain
canton was pulled in to recreate an
American icon. “Our farmers have
eight cows,” he says. “The cows have
names and they come when we call.”
A patient observer
In 1998, in Singapore, near the apartment of the woman who was to become
his wife, Schmid came across a Chinese
opera group that performed wholeheartedly, every day, in front of empty
chairs. He was curious. It was ritual
28 // Art // Hannes Schmid
street-opera performed exclusively for
Chinese gods and ghosts, based on
­c ultural and religious traditions of the
Teochew Chinese. The group believed
that photographing a performance
would unleash the wrath of the gods.
Schmid returned to the theater
­r epeatedly, and after four years, he was
allowed to take photographs backstage.
He says he became part of the troupe
and slept under the stage with them, in
a hammock. A few years later, the group
had lost its concern that he would raise
the wrath of the gods and had begun
to think that, when they were gone,
it would be good to have a record of
what they had done. He was then able to
photograph during a performance.
He says that though he liked his
photographs, they could only communi­
cate a part of what he felt watching
this impressive performance for the
gods. He turned to the art of calligraphy, and worked with his father-in-law,
a calligraphy artist, to use Chinese
characters painted on the photographs
to communicate more of the atmosphere
and story of the ritual.
In 2007, the opera performed for the
last time. Schmid says he still helps to
support fourteen members of the troupe.
Shifting focus
In the past 6 years, Schmid’s work has
been catching the attention of curators,
gallerists and publishers. In the early
years, this was not important to him as
long as he could explore. When he was
photographing rock stars, he would sell
the occasional photograph for $25 or
$ 50, but mostly he would give photos to
the band in exchange for travel and
­living expenses. He says he was fine
with this, that he was a simple guy who
did not need more. With a laugh, he
adds that Rod Stewart once bought
him a fur coat, because the rock star felt
that Schmid’s attire needed a boost to
fit with the band’s look.
Schmid’s books and exhibits, as
well as his fascinating life story, are
­g iving him a new currency, one that is
replacing the camera as a door opener.
He gives talks on behalf of the consult-
ing and financial services firm Price­
WaterhouseCoopers. He also speaks to
high Chinese officials about creativity,
free thought and innovation, with a license he describes as previously having
belonged to “these guys in medieval
times with the funny hats who could
say everything to the emperors and
kings.”
His Momentous exhibit will open
on June 22 at the Today Art Museum in
Beijing. It includes five mobiles in
constant motion onto which images
­
from work he has done on Formula One
will be projected. Visitors can then use
their mobile phones to upload their
own photographs, which will morph
with Schmid’s images. He will also be
creating a permanent installation for
the new wing of the Shenzhen airport,
and an exhibit for the Power Station of
Art, Shanghai’s new contemporary art
museum.
Schmid’s children are half Swiss
and half Chinese, and he says he wants
to build a bridge between the cultures.
He has always followed his heart and
his interest, and he shows no signs of
slowing down.
Being involved
Schmid says he has never considered
himself a photojournalist, and he has
always maintained the level of
confidentially desired by those who
have granted him access. Instead of
viewing investigative reporting as his
contribution, he has chosen certain
causes related to his experiences and
supported them.
He recently partnered to start
Smiling Gecko, a nonprofit organization that supports children in
Southeast Asia. For the organization,
he spends time in Cambodia,
supporting families living in Phnom
Penh’s garbage dumps and helping to
resettle families onto agricultural
land. He is also using photography to
document their situation.
Outlook 01/2014 // 29
The Falcon 5X :
Large-scale comfort
for midrange flight
Dassault Aviation has announced its newest
business jet. Designed to give passengers
a luxurious large-cabin feel even for midrange
flights, the 5X has the roomiest cabin area of
any Falcon, plus a new cabin design with flowing
lines and sleek furnishings. Like all Falcon
aircraft, it benefits from advanced technology
derived from the company’s experience with
fighter jets.
“The reasoning behind this aircraft,”
says Olivier Villa, senior vice president
at Dassault’s Civil Aviation division, “is
the fact that we’ve seen some customers
who say, ‘Even if I don’t need to fly 7,000
nautical miles, it is quite nice, even for
an eight-hour flight, to have a larger
cabin.’”
The Falcon 5 X cabin is 38 feet 8
inches long, 6 feet 6 inches high and 8
feet 6 inches wide. It can accommodate
up to 16 passengers. The aircraft’s r­ ange
is 5,200 nautical miles, with eight passengers, at Mach 0.8.
Part of the Falcon philosophy is to
create versatile aircraft. The 5 X was
­designed to offer flexible take off and
landing capabilities as well as a high
cruise speed and low fuel consumption.
To meet this goal, the company
­designed new wings for the aircraft and
added control surfaces derived from its
military designs. With the help of this
new wing, the aircraft will be able to
land at airports that require steep, slow
approaches, such as London City and
Lugano.
“Dassault wants the aircraft to be a
success for the next 30 years,” says Villa,
“so we need to not be shy of any new
technology, putting basically everything we can in this aircraft, in terms of
aerodynamic progress, in terms of systems, and the best new engines.”
After introducing the first business
jet equipped with a fly-by-wire ( FBW )
flight control system, the Falcon 7X, the
company has improved the system for
the 5 X. FBW systems replace the mechanical linkages between flight controls and aircraft systems with electronic wiring. As FBW systems have
become more advanced, pilots have
been able to reduce their focus on the
various flight controls and have increasingly been able to simply tell the
aircraft the direction in which they
want to go. The aircraft then figures out
the best way to achieve this.
Dassault Aviation already had extensive experience with FBW in fighter
jets, where it is essential that a pilot be
able to concentrate on high-level decisions and not on the aircraft’s handling.
“You have these pilots that are flying above the speed of sound,” he says,
“in an environment where they are
turning, and they do not know what is
up and what is down. They have teammates around, and targets. When you
look at all the information they have in
a fraction of a second to decide what to
do, it is absolutely crazy.”
Incorporating FBW in business jets
reduces pilot workload in this realm as
well, and contributes to safety and
­c apability. The world in which commercial pilots operate is becoming
more difficult. It is increasingly common to ask pilots to fly sophisticated
trajectories, both because of increased
air traffic and for the sake of efficiency.
Villa says there has been a lot of change
in the demands on pilots in the past
20 years, and there will be a lot more
­coming.
Since the launch of the
Mistère Falcon 20 in 1963,
the Falcon business
jets steadily increased in
range and comfort.
The roots
The Falcon 5X cabin was designed with flowing lines
and sleek chairs to enhance the feeling of spaciousness.
The cockpit is intended to feel intuitive to pilots.
Opposite: The first Dassault business jet in 1963, the
Mystère 20 (top). Marcel Bloch (Dassault) (bottom)
32 // Aerospace // The Falcon 5 X
Dassault was determined to continue building aircraft, and he was soon
The mix between military and civil avi- fully back in the swing of things. He
ation has a long history at Dassault. built propeller aircraft for a variety of
Founder Marcel Bloch developed a applications, and then, as the jet age set
­successful new propeller during World in, he developed a fighter plane. He
War I, and then formed a company that named the second version of this fighter
designed a two-seat fighter plane. As Mystère, from Dr. Mystère, the hero of
fate would have it, the first series-­ one of his favorite children’s books. The
production version of this fighter rolled plane was the first French aircraft to
out on Armistice Day, the end of the exceed the speed of sound, and it was
war, and the government cancelled its also the precursor to the Falcon.
Dassault’s first aircraft designed for
1,000 -aircraft order.
After the government warned it business aviation was the Mystère 20,
would not be ordering more aircraft for which flew for the first time in 1963. For
a long time, Bloch, only 26 at the time, the American market, the name was
became a furniture maker, then entered changed to Mystère Falcon 20, and then
the construction industry. He was Falcon 20. The aircraft was the begindrawn back into aviation after watch- ning of a line of business jets that
ing Charles Lindbergh land in Paris in ­increased in range and comfort, up to
the long-range Falcon 7X, which made
1927 and recognizing the potential in
civilian aviation.
its debut in February of 2005.
His new company, Avions Marcel
The company has also continued
Bloch, produced three civilian aircraft. to develop advanced fighter jets. At
Then, the political climate changed ­
Dassault Aviation, engineers are not
once again. As nationalization swept assigned to either military or civilian
across France, Bloch was put in charge projects, but rather move from one to
of a national company for aeronautical another. This creates a natural flow,
construction. The company’s factories bringing military technologies and
produced fighter planes and bombers.
­approaches into the civilian program.
After France’s military defeat at the
beginning of WWII, the Third Reich
­ordered 100 of the largest French transport aircraft. Bloch refused to fill the
order, and he was sent first to prison, Dassault Aviation
then to an internment camp and eventually to a concentration camp. He Dassault Aviation produces the
emerged in 1945, emaciated and ill, and Rafale fighter jet and the Falcon line.
changed his surname to Dassault, The company employs over 11,000
which was the nom de guerre that had people and has assembly and
been given to his older brother by the production plants in France and
French resistance. His brother had the United States. Since the first
been fond of assault tanks, “char Falcon 20 in 1963, over 2 , 250 Falcon
d’assault” in French.
jets have been delivered.
Outlook 01/2014 // 33
Development and construction
of the Falcon 5X is an interplay
between the digital and
physical worlds. Wind-tunnel
testing (opposite, top) provides
important information during
the design phase
The luxury interior
In stark contrast to the military aircraft, Falcons are luxury airplanes, and
the company is increasingly embracing
this identity. For the 5 X, the company’s
interior designers were brought into the
aircraft design process earlier than in
the past, and the Falcon brand was
­emphasized in the cabin.
Designers worked with flowing, unbroken lines to enhance the feeling of
space. They made everything flush and
integrated cabin elements such as
lights, air vents and electric charging
stations as smoothly as possible. LED
signage was created that is invisible
­u nless illuminated.
To further increase the sense of
spaciousness, more natural light was
­
34 // Aerospace // The Falcon 5 X
introduced, through larger windows
and also a skylight in the galley. Chair
design became sleeker.
Just like engineers designing other
aspects of the aircraft, the cabin
­designers worked with Catia, Dassault
Systèmes’ 3D visualization system, and
took advantage of Dassault’s Immersive
Reality Center. The center surrounds
the user with computer-generated images of an area of the aircraft. Positiontracking sensors mounted on the operator’s goggles, hands and other body
parts, the user can reach around and
explore spatial relations in connection
with concerns such as maintenance
clearance or the ergonomics of a galley.
The interior designers also built a
basic full-scale mock-up of the cabin.
“Catia is so powerful you think you can
do everything with it, but it is important
to actually sit in a seat and feel it, and
then see the general layout of the cabin,”
says designer Agnes Gervais. “Some
people think this is going backwards,
but it is important to feel the space.” The
department also did small mock-ups or
3D printing of things like handles, so
that various people could test it for hand
comfort. Cabin design involves a human
touch, and the Falcon designers have
gone to great lengths to provide this.
Making sure
With the modeling power of Catia, as
well as other programs and test facilities, engineers are convinced that the
structure of the Falcon 5 X will be
e­ ssentially perfect by the time the first
aircraft takes off for a test flight in early
2015. They are so sure of this, in fact,
that at the time of that first flight, over
ten Falcon 5 Xs will already be in
­production. “We have very good engineers,” says Dassault Aviation Chief
Test Pilot Philippe Deleume, with a
laugh. “But Airbus is doing the same.
Boeing is doing the same.”
The Falcon 5 X is already being flown
“on the bench,” which means that pilots
are flying it in a fixed-base simulator.
This enables them to test the software
that is central to the digital flight control
systems as well as other aircraft systems.
When the real flight testing begins,
engineers will be able to make sure the
physical characteristics they have
­modeled hold up in the real world. They
will also refine the data they have
­entered into the flight control system.
Through modeling and wind tunnel
testing, engineers should already have
an accurate picture of how the aircraft
will handle in the middle of the flight
envelope. Those sources are not as
­accurate at making predictions for very
high or low speeds, so engineers will
need to gather this information through
flight testing.
Once the team members have made
their final adjustments, they will put
the Falcon 5 X through the wringer to
convince themselves and the certification authorities that the aircraft is absolutely solid. After a series of tests to
demonstrate that the aircraft functions
well in good conditions, the test crew
will seek out extreme conditions.
It will probably head for Iqaluit, in
northern Canada, which has the dubious
honor of offering the coldest international airport in the world. It will head
to the heat of the North African deserts
and seek out high altitudes and cross
winds, as well as various forms of mist,
rain and snow.
Deleume enjoys the process, with
its challenging flying and remote locations. He says, however, that the very
first time the Falcon 5 X flies will have
been the real magic moment.
“Everybody is waiting for the test,”
he says, “the engineers, the ground
crew. As a pilot, when you are in action,
you don’t feel it, because you are very
concentrated, you are doing your job.
And then, little by little, you discover
the plane.”
Outlook 01/2014 // 35
Maxon Motor –
Small motors
moving astrono­mical
projects
Mars Rover
Maxon’s motors are sent to Mars, lowered six
kilometers below the earth’s surface, and placed
inside the human body. They not only have to
be small and light, but also reliable and efficient,
because there places are not ideal for a quick
repair or a battery change. As global use of small,
advanced machinery continues to increase,
the applications for these motors seem endless.
36 // Innovation // Maxon Motor
Maxon Motor’s headquarters are just
outside the town of Sachseln, in central
Switzerland. Sachseln has about 5,000
inhabitants, and Maxon’s buildings are
surrounded by farmhouses, barns and
apple trees. Many of the offices and production spaces have a view of Sarnen
Lake; others have views of the surrounding mountains. This is the heart
of Switzerland, less than twenty miles
from where three men are said to have
met on an alp in 1291 to form the
­Helvetian Confederation.
In 1991, one of Maxon’s US salesmen contacted headquarters and said
someone had asked him whether the
company could make a motor capable
of withstanding – 130 °C. Management
was skeptical. This sounded quite
strange. They were not even sure how
they would test at this temperature.
Management told the salesman to
find out why the potential customer
wanted such a motor. The answer put
an end to all hesitation. The motors
were needed for a space-exploration
rover. Nighttime temperatures on Mars
go down to – 130 °C.
Maxon worked with NASA’s Jet
Propulsion Laboratory for about five
years to adapt some of its motors to the
conditions of space and space travel.
The motors would need to handle
­extreme vibrations and the shocks of
landing and take-off. They would have
to withstand both extreme heat and
extreme cold, and function in the
­
­r educed atmospheric pressure of Mars.
It was also important that they be able
to withstand sterilization, because the
mission did not want to bring life forms
from earth into space.
The motors also had to be light. It
takes a lot of energy to accelerate a
payload into space. “You may start out
with a rocket that weighs a thousand
tons, trying to send a spacecraft that
weighs maybe one or two tons to Mars,
of which you are then going to land a
hundred kilos,” says Robin Phillips,
Maxon Motor’s Head of Aerospace
Projects. “Increase those hundred
­k ilos at the end to one hundred and
ten, and you have to hugely increase
the size of the rocket at the beginning.”
In December of 1996, eleven Maxon
motors went into space with the Mars
Pathfinder mission. This put Maxon in
the worldwide media, and the company’s connection with space exploration
was established. For the next Mars
­rovers, Spirit and Opportunity, Maxon
provided 39 motors each, which drove
everything from robotics arms, to
c ameras, to the steering mechanism
­
and wheels. Spirit got stuck in sand in
2010, while Opportunity is still running
and celebrated its 10 th anniversary of
Mars exploration this past January. The
rovers were originally designed to last
about 90 Martian days, or 92 Earth
days.
Maxon now works with several
space agencies and has developed
­motors that will go to Mars in the European Space Agency’s ExoMars rover
towards the end of this decade. Maxon
has also been supplying motors for
Space X’s Dragon spaceships, which
transport materials to and from the
­International Space Station.
Reinventing itself
Maxon is firmly a Swiss company. It has
a Swiss CEO and is an integral part of
its home canton of Obwalden. It did
not, however, grow from the seeds of its
small-town community. The German
Outlook 01/2014 // 37
Maxon motors must be suited to
conditions in space in applications such as the SpaceX Dragon
(above) and the Mars Spirit
rover (right). They must also be
able to withstand the rigors
of launch – MER-B delivering
Opportunity (left)
38 // Innovation // Maxon Motor
electronic appliance manufacturer
Braun established the company at the
end of the 1950 s after the Swiss Ministry
for Industry, Commerce and Labor said
it would close Braun’s Swiss distribution center if the company did not
launch a production site in an economi­
cally weak region of Switzerland. The
German company chose the beautiful
spot next to Sachseln, and two Braun
brothers, Erwin and Artur, were put in
charge of the company.
With seventeen employees, the
company produced shaving foils for
Braun’s electric razors. It also created a
separate department where engineers
experimented with electromechanical
devices. In 1967, the Braun mother
company was sold to America’s Gillette
company, but the Swiss unit remained
independent. To survive, it now needed
to reorient itself quickly.
Based on the experimentation it
had been doing, the company developed
a range of motors. It patented an ironless design that has a special standalone copper winding without the iron
core required in most motors. These
ironless motors are highly efficient, as
well as lighter and smaller than conventional designs.
In the early years, Maxon’s motors
were used in devices such as calcu­
lators, video players and cassette
­r ecorders. Later, the company focused
on ­motors for machines in factories. As
these industrial automation machines
became increasingly advanced, so did
Maxon’s motors. One of the main
­applications for the motors were “pickand-place machines,” which positioned
chips on circuit boards. In 2000, after
the technology crash, these orders
­decreased from one month to the next.
Maxon once again needed to reorient
itself.
The company turned increasingly
to medical technology. An aging population with money to spend on ­advanced
treatments was bolstering the industry,
Maxon worked with NASA’s
Jet Propulsion Laboratory
for about five years to adapt
some of its motors to
the conditions of space
and space travel.
and the small size and absolute reliabi­
lity required of motors in the sector
made Maxon an ideal fit. More than
40 % of the company’s business now
consists of supplying the medical
­t echnology field, while 25 % of revenue
still comes from industrial automation
companies.
Robin Phillips says Switzerland is
an ideal place to develop and produce
advanced motors, because of the Swiss
affinity for precision. As part of this
tradition, the watch industry has
shaped several aspects of Switzerland,
including educational paths that produce engineers and technicians. The
watch industry has also created a group
of suppliers ideal for Maxon. The watch
industry buys in high volumes, so when
its members ask for greater precision or
tougher steel, suppliers comply. Maxon
has similar requirements for its parts
and therefore benefits from the high
quality available.
Maxon Motor AG
Maxon now has production facilities
in Switzerland, Germany, Hungary
and Korea, with research and
development in Switzerland and
Germany. More than half of Maxon’s
approximately 2 ,000 employees
work in Sachseln, Switzerland.
Highly specific
Of the approximately 5 million motors
Maxon makes each year, only about
20 % are ordered standard, from the
catalogue. The designs of the other
80 % are modified to some degree, to
make them an ideal fit for the customer.
Certain projects take this customization to the extreme. When Phillips talks
about the specifications the company
­receives in connection with a request for
a motor for space, he throws his arms
wide apart to show the length of the list.
Things must be different for space, and
they must be perfect. Creating such a
­motor usually takes several years.
Outlook 01/2014 // 39
Androboy is one of many humanoid
robots that uses Maxon motors
(top left). The motors are also often
used in prosthetic devices. Cross
section of a Maxon motor (below)
Production at Maxon (top left).
Medical pump (top right).
Exploration on Mars is continuing.
The rover Curiosity (bottom
left) landed on Mars in 2012
mistakes. They all have the same problems.” And so they all test and test.
Causing a mission to fail because of one
faulty part is not an option.
Broad applications
Maxon and the client first identify
an existing motor that is close to the
desired size and power. Then Maxon
engineers redesign the things that will
need to be changed for space.
They build a motor based on these
plans, test it, fix any problems and test
it again. Once they have developed the
motor to their satisfaction, it goes out to
the customer, who will put it in their
machine and test it.
If the motor functions well in the
machine, the client will run it for a “lifetime” – the number of cycles the motor
will have to go through during the
i ntended mission. The motor is then
­
sent back to Maxon, where engineers
40 // Innovation // Maxon Motor
open it up to see whether it was about to
fail or whether it was running strong.
This process is repeated multiple
times, until both the Maxon engineers
and the client are convinced they have
the design they need. Each of the actual
units that will be going into space then
also undergoes testing, to make sure it
was built correctly.
Phillips says that one of the things
that surprised him when he began
working with space agencies is that
­everyone is very human. “I envisioned
a magical organization that did everything right,” he says. “It turns out they
are manned by the same human beings
we have here. They all make the same
Characteristics that make a motor ideal
in one environment are often helpful in
several others as well. The technology
for making a motor resistant to the very
low temperatures on Mars also made it
possible for Maxon to supply motors to
the Dome C telescope in Antarctica.
The resistance to vibration needed
for space travel is also important for
Formula One race cars and petroleum
drilling.
The small size and light weight of
Maxon’s motors make them ideal for
various humanoid robot projects.
­Tokyo University, for example, has built
Kenshiro, a 1.58 meter tall robot that
has 160 artificial muscles, the most ever
installed in a humanoid robot. Ninetythree Maxon motors are used to contract these muscles.
The smallest
The company’s smallest motors are
just 4 mm in diameter, and the lightest
of these weighs only 1.2 grams.
Applications for the motors include
microrobotic systems as well as
implantable pumps for medication
delivery.
For the human body, Maxon motors
drive insulin pumps, prosthetics and
implantable medication delivery systems. They are also used by physicians
in devices such as robotic surgery arms
and hand-held tools.
The many aviation applications
of Maxon motors include autopilot
systems, brake flap adjustment, seat
­adjustment, flight recorders and radar
systems. In each Boeing 787, in the
­climate control system alone, there are
48 Maxon motors.
In 2013, Maxon received the annual
award presented by Aerosuisse, the
umbrella organization for the Swiss
aerospace industry. Aerosuisse cited
­Maxon’s “groundbreaking development
and production of high-precision drive
s ystems,” which it considers of vital
­
­importance to the aerospace industry.
Maxon CEO Eugen Elmiger says
that as small motors become more efficient, they are often replacing hydraulic
or pneumatic systems on aircraft. He
expects demand from the aerospace
industry and elsewhere to remain
strong. In fact, he says the biggest
­surprise during his years at Maxon has
been the continuous increase in applications for the motors. “Every day,” he
says, “there is something new that
makes me think, ‘Wow, I would never
have thought that that really needs a
motor – that it needs to be moved.’”
At present, Maxon is working on a
motor that will be able to withstand
500 °C. As a base, the company is using
its Heavy Duty motor, which was
­designed for oil drilling and can withstand temperatures of more than
200 °C. In September of 2012, engineers
confirmed they had a motor that could
run above 420 °C, and in later tests, the
new motor ran for an hour at 450 °C.
This project is once again at the
­r equest of NASA’s Jet Propulsion Laboratory. Mars is not the only neighbor of
interest, and the average temperature
on Venus is over 460 °C.
Outlook 01/2014 // 41
Hiltl – Europe’s
oldest vegetarian
restaurant
Over the course of more
than a century, Zurich’s Hiltl
restaurant has transitioned
from a suspiciously regarded
bastion of vegetarianism to
a fashionable dining spot. Now
led by the fourth Hiltl generation,­
the restaurant has kept its
emphasis on fresh, healthy food,
while adding a bar, a club
and a cooking school. It is true
to its history, but the times
have changed, and Hiltl is right
there with them.
Outlook 01/2014 // 43
The restaurant has been in
family hands for 4 generations.
Margrith Hiltl (top left),
Rolf Hiltl with his wife and the
next generation (top right),
Ambrosius Hiltl (bottom left),
Hanni and Heinz Hiltl (bottom
right)
Oldest vegetarian
restaurant
After researching the topic, the
European Vegetarian Union named
Hiltl the oldest vegetarian restaurant
in Europe. Hiltl is also listed in
the Guinness Book of World Records
as the oldest vegetarian restaurant
in the world.
44 // Gourmet // Hiltl
At the end of the 19 th century, Europe
was industrializing rapidly, and life
was changing. Not everyone was
pleased with the new society, and an
alternative, back-to-nature movement
developed just south of the Gotthard
Pass in Switzerland. This Monte Verita
movement is said to have attracted
­bohemians, nudists, pacifists, feminists,
Freemasons and theosophists.
It also attracted a large number of
famous artists and writers, including
Herman Hesse, Erich Maria Remarque,
Franziska Gräfin, Marianne von Weref­
kin, Hans Arp and Sophie Taeuber. It
was an important place for the Dadaist,
Bauhaus and anarchist movements,
and German expressionist dance is said
to have originated on the mountain.
Psychologists also came to the movement, with Carl Jung himself having
spent some time at Monte Verita.
A healthy diet and vegetarianism
were central to the group, and in 1898,
it opened a vegetarian restaurant in
­Zurich. Just as the group on the mountain was often considered crazy by its
southern Swiss neighbors, residents of
Zurich considered this Vegetarians’
Home and Teetotallers’ Café to be quite
strange. Traditional Swiss cuisine included a lot of meat. Meat and potatoes
were solid. Real men ate meat.
Around the same time that the
r estaurant was founded, the young
­
German tailor Ambrosius Hiltl was led
to vegetarianism in Zurich through a
very different set of circumstances. He
had grown up on a small farm in
B avaria, and, after completing his
­
­apprenticeship as a tailor, he set out for
his journeyman years. These years of
practicing his trade while on the road
through foreign countries included
many stops in Switzerland. At the
end of this time, in 1897, he settled in
­Zurich.
Soon thereafter, he was diagnosed
with rheumatoid arthritis, and his
­doctor ordered him to stop eating meat.
As a vegetarian bachelor in search of
nourishment, he turned the to Vege­
tarians’ Home. His health quickly
­r ecovered on the new diet.
The restaurant, however, was struggling. It was in need of new management, and in 1903, Hiltl agreed to take
the job. The next year, he bought the
Ninety percent of
Hiltl customers
are not vegetarian,
but rather people
who simply
enjoy delicious,
healthy food.
restaurant. Business improved under
his leadership, but the skepticism continued. Vegetarians were often called
grazers and the restaurant referred to
as the “Wurzerlbunker” or root cellar.
Today, led by the Hiltl family’s
fourth generation, the restaurant has a
renowned buffet, a take-out service,
cooking classes, a vegetarian butcher
shop, a catering department, meeting
rooms, a bar and even a dance club.
While the restaurant was once separated from Zurich’s central Bahnhofstrasse by a small forest, the expanding
city grew up around the building,
­m aking it part of the Zurich’s dynamic
center. The restaurant has changed as
much as its surroundings. Recent renovations have turned Hiltl into a prime
example of the upscale stylishness of
Switzerland’s largest city.
The changing face
Rolf Hiltl, today’s fourth-generation
manager, wants to make sure the
restaurant atmosphere and the menu
are geared towards enjoyment. One of
his first moves was to take oatmeal
gruel off the menu. He has tried to
banish anything reminiscent of austere
health-consciousness. Rolf himself is
not vege­
t arian, but rather refers to
himself as “flexitarian.” He says about
90 % of Hiltl customers are not vege­
tarian, but rather people who simply
enjoy ­delicious, healthy food.
While the chefs continually present
new dishes, and Asian and Arab foods
have become important at the restaurant, Rolf makes sure to keep Swiss
staples on the menu. He is aware of the
role memories and emotions play when
it comes to food. “When you eat,” he
says, “a lot is about traditions – what
you ate as a child.”
Some Swiss dishes are easily kept
vegetarian, such as Rösti und Gemüse,
the traditional meal made with grated
potatoes and vegetables, or Stock und
Seeli, mashed potatoes topped with a
“little lake” of red-wine sauce. Other
dishes are altered, such as the local
­specialty Züri Geschnetzeltes, which
is served with the wheat product seitan
in a white-wine-and-mushroom cream
sauce, instead of the usual veal.
Outlook 01/2014 // 45
The restaurant serves various pasta
dishes, and it just recently introduced a
burger. There are also vegetarian versions of old European classics such as
cordon blue, beef stroganoff and beef
tartare.
The centerpiece of Hiltl’s cuisine
is its buffet. About two-thirds of the
­r estaurant’s guests head for it, where
they can choose from about 100 dishes,
several of which are the same as the
entrees that can be ordered indivi­
dually. There are numerous Indian
dishes, as well as single-vegetable
­s alads; multi-vegetable salads; vegetable-and-grain salads; salads with tofu;
salads with cheese; rice dishes; cutlets
made of chickpeas or tofu or millet;
dishes with jalapeño; fruit; desserts;
chutneys; special sauces and much
more.
The buffet is so popular that dishes
are refilled continuously, keeping the
selection extremely fresh. In general,
little food stays in the Hiltl building for
more than 24 hours. Every morning,
about 90 kilos of oranges are delivered,
50 kilos of potatoes, and 30 kilos of
tofu. There is a small night shift that
comes in to begin longer processes such
as soaking chick peas and simmering
Indian curries.
The development
The famous Hiltl buffet.
Here customers pay by weight
for their meal – an almost
scandalous concept when it
was introduced in the 1970s
In its early years, Hiltl focused on vegetarian dishes within the flavor ranges
familiar to central Europeans. The first
chef was the German Martha Gneupel.
She had started at the restaurant for
Monte Verita, and then not only stayed
to work for Ambrosius Hiltl, but also
married him. She had grown up in a
vegetarian family, and she cooked the
gruels, knoedel, and other foods typical
of her homeland.
In 1951, Margrith Hiltl, wife of the
second generation restaurant manager
Leonhard Hiltl, went to India as the
Swiss delegate to the World Vegetarian
Congress. She returned to Zurich with
a variety of Indian spices and a strong
enthusiasm for Indian cuisine. She was
determined to serve Indian food at
Hiltl.
Her brother-in-law Walter, the head
chef, did not think patrons would be
interested in this foreign food, and he
refused to make it. This did not stop
Margrith, who simply cooked it upstairs in her apartment and served it to
guests who ordered ahead. Eventually,
Swissair asked Hiltl to supply food for
the airline’s Indian passengers, and
Walter’s resistance broke down. Indian
dishes became a central element at
Hiltl, and in the early years, Indian
friends brought coriander, turmeric,
cumin and cardamom to Margrith
when they visited Zurich.
Margrith’s son Heinz introduced an
Indian buffet at Hiltl in the 1970 s, when
his son, Rolf, was about six years old.
“It was very special,” says Rolf. “The
people who went there were special,
­
hippie, a little crazy.” Heinz also introduced a salad bar at which the food was
sold by weight. This was a novelty, and
not all clients were enthusiastic. At
first, Heinz placed pre-made salad
plates, sold at a set price, on the buffet
for those who preferred more traditional menu choices.
Heinz also initiated a “shocking”
renovation in 1973, adding bright,
flashy colors to the restaurant’s décor.
This was an early attempt to shed some
of the “rabbit-food” image then associated with vegetarian fare.
While the second-generation and
third-generation Hiltl bosses, Leonard
and Heinz, had trained as pastry chefs,
Rolf apprenticed as a cook at the fivestar Dolder Grand hotel in Zurich and
then went to hotel management school
in Lausanne. He continued his culinary training in Acapulco, Paris and
San Francisco, and dreamt of opening
a bar in San Francisco.
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46 // Gourmet // Hiltl
The Hiltl butcher shop (top)
sells both vegetarian and vegan
products. The restaurant has
dining areas on two floors, where
guests can choose to order
a la carte dishes or to visit the
buffet
48 // Gourmet // Hiltl
When he returned home after his
work in San Francisco, however, he felt
that things were slowing at Hiltl. It
looked like it would take some innovation to keep the restaurant running
strong. His sister had become a kindergarten teacher, making him the logical
choice to bring the restaurant into the
new millennium. So he stayed in Z
­ urich
and began to work alongside his father.
In 1998, on the occasion of the restaurant’s 100 th anniversary, 60 -year-old
Heinz Hiltl turned leadership over to
32-year-old Rolf.
Rolf shook things up. He added
a lcohol to the menu and extended
­
opening times. He chose a new look for
the main restaurant, and opened two
take-out locations and a vegetarian
“butcher shop”, where vegetarian
­s ausages, cutlets and other specialties
are sold behind the counter. He formed
a partnership to open Tibits, a chain of
self-service and takeout restaurants
with a buffet similar to that at Hiltl.
Rolf has created a highly international staff, with over fifty nationalities represented among his employees,
which brings diverse ideas to the
­r estaurant. He also travels extensively
to get a look at how other cultures are
eating. In Shanghai he saw stands
­selling tofu, tempeh and seitan, which
made him feel he was on the right track
with his vegetarian butcher shop. In
Japan, he observed ways of cooking
that do not involve milk, cheese or
eggs, which are relevant for Hiltl, given
the growing population of vegans.
Over 50 % of items on the Hiltl menu
are vegan, which means they contain
no animal products whatsoever, and
several others can be made vegan upon
request.
Hiltl has an international clientele,
and these visitors also sometimes give
input. Recently, a man from Tel Aviv
came into the kitchen to show cooks his
recipe for humus. It is now the recipe
the restaurant uses.
Rolf is working in
a world very
different from that
of his predecessors.
­Vegetarianism
and ­veganism are
now “in”.
When Rolf took over the restaurant,
female customers outnumbered male
customers by about four to one. He has
been working to even this out. During a
recent remodeling, he added more dark
woods and other design elements intended to appeal to men. He says he has
also made sure the restaurant has good
beer, as well as hearty dishes such as the
cordon bleu and the Hiltl burger. Today,
women still outnumber men at Hiltl,
but only by a ratio of about two to one.
Rolf says that as he makes changes
at the restaurant, he works from more
of an American trial-and-error prin­
ciple than a typical Swiss mode of
­c aution. He seems to be a natural entrepreneur, and the idea of doing things in
a new way is interesting to him.
This is not the only reason things
are changing so rapidly. Rolf is working
in a world very different from that of his
predecessors. Vegetarianism and vega­
nism are now “in”. They are trendy.
While this means that competition
from other vegetarian restaurants is
­i ncreasing, it also means that Hiltl has
evolved to the point where it is an established restaurant in a hot segment.
More and more young people are
coming to the restaurant. “All those
rock and pop stars are turning vegan
and Hollywood is turning vegan,” says
Rolf, “and the kids see that on YouTube
and think it’s cool.”
Hiltl stood its ground when vegetarians were considered austere contrarians, and now it can bask in the
lifestyle’s glory days.
Sihlpost restaurant
At the end of 2015, Hiltl will open
a self-service and takeaway restaurant in a former post office near
the main Zurich train station. About
twenty years ago, when the post
office was being refurnished, Rolf
Hiltl asked for the old 1930 s fur­
niture, and the renovators were happy
to be rid of it. Recently, the post
office decided to close this Sihlpost
branch, and Rolf will move the
furniture back into the building to
create something that is “authentic vintage.” He says people want true
stories, things that really happened.
Hiltl will create an industrial look for
the space connected to the way
mail was sorted with conveyor belts.
Outlook 01/2014 // 49
Jet aviation
New hangar facility at Seletar
Aerospace Park
Jet Aviation launches
new global website
Jet Aviation launched
its new website in January,
introducing its new
­corporate branding in
addition to improved
functionality, design and
navigation.
Accessible through a
wide range of web browsers
and devices, the website
features an intuitive navigation system, a cleaner
layout of all services and
facilities and an enhanced
homepage design. It also
offers FBO pre-arrival forms
and fuel pricing and main­
tenance quotation requests.
Integrated within the
website is a video tool from
which all Jet Aviation videos
can be viewed. Applicable
videos can be accessed from
all website pages.
The Jet Aviation charter
website will be incorporated
by mid-year.
Contact:
Jet Aviation Management
Tel.+41 58 158 8111
Fax+41 58 158 8115
[email protected]
50 // Jet Aviation // Inside
Jet Aviation Singapore
is in the process of going
operational at its new
state-of-the-art hangar
facility at Seletar Aerospace
Park.
The new 7,500 square
meter facility triples the
size of the former facility,
adding more than 4,000
square meters of shops and
offices and nearly 9,400
square meters to its apron.
Through its significantly
larger new 420 square meter
Interior Shop, the company
expands its interior services
capabilities from minor
­i nterior repairs to full interior
aircraft refurbishment.
Undertaken in direct
response to growing
demand for large, longrange business jets in
the region, the new hangar
has an arched roof reaching
24 meters at its highest
point to accommodate
aircraft such as the Boeing
Business Jet ( BBJ ) and
Airbus Corporate Jet ( ACJ ).
It can also hold up to five
Gulfstream G 650 or five
Bombardier Global Express
7000 aircraft.
Contact:
Jet Aviation Singapore
Tel.+65 6481 5311
Fax+65 6481 1480
[email protected]
Outlook 01/2014 // 51
Basel Design Studio wins SBID Award
for TIMELESS TO VISIONARY designs
Jet Aviation St. Louis grows its MRO
narrow-body business
1 Timeless Design Concept
2 Visionary Design Concept
3
Ruedi Kraft (back center), Vice President,
Market Development & Completions
Sales, and Elisabeth Harvey, Manager,
Jet Aviation Basel Design Studio
(front center) at the 2013 SBID awards
ceremony
4 SBID International Design Awards Logo
5Matthew Woollaston, Director, Market
Development & Completion Sales
3
1
4
5
2
With more than 400 entries
submitted for 14 design
categories from 33 countries, Jet Aviation Basel’s
wide-body Timeless to
Visionary cabin interior
design campaign won the
coveted Visualization award
in the Contract category
at the 3rd annual SBID Inter­national Design Awards
ceremony for 2013. Judged
52 // Jet Aviation // Inside
by international industry
leaders, the highly contested
SBID International Design
Awards honor creative
talents in the design industry
and reward design excellence across the globe.
Jet Aviation Basel has
also appointed Matthew
Woollaston as director of
Market Development and
Completion Sales. Woollaston
joins Jet Aviation from New
Zealand-based Altitude
Aerospace Interiors, where
he successfully led the
company’s VIP Completions
Business for five years. He is
a licensed aircraft maintenance engineer and holds a
bachelor of commerce
degree from the University
of Auckland.
Contact:
Jet Aviation Design Studio
Tel.+41 58 158 4111
Fax+41 58 158 4004
[email protected]
Jet Aviation St. Louis
expanded its service
offerings last year to include
the Boeing Business Jet
( BBJ ), taking delivery of its
first BBJ in February 2013,
with two more following
later in the year.
In March 2014, two BBJs
arrived at the same time,
delivering the company’s
first BBJ doubleheader.
One came in for a 24 -month
inspection that included
some non-routine items
such as replacing headliners
in the lavatory and replacing
curtains with leatherbound panels. The other
came in for a C 3 inspection
( 12 year) that included
interior removal and new
installation and overhaul of
all landing gear.
“Having two BBJs in
adjacent hangars right now
really highlights the extent
of our narrow-body
capabilities,” says Chuck
Krugh, senior vice president
and general manager of Jet
Aviation St. Louis. “We’ve
been developing this line of
business for almost five
years and are very intent on
achieving BBJ completions
here.”
The company has two
narrow-body hangars, each
of which can accommodate
two to three larger jets.
In recognition of its
top-to-bottom team commitment to high professional
performance, Jet Aviation
St. Louis has won the FAA’s
2013 Diamond Award for
Excellence for the second
consecutive year. The FAA’s
Diamond Award program
focuses on regulatory,
airworthiness and safety
awareness training to
reinforce, promote and
foster a high level of
professionalism and safety
within the industry.
Qualifying for the award
required all 254 of the
eligible aviation maintenance technicians ( AMT )
– including Krugh – to
successfully complete FAA
training and certification
requirements to achieve
Bronze, Silver or Gold
award levels. The award is
presented through the
FAA’s William (Bill)
O’Brien Aviation Maintenance Technician ( AMT )
Awards program.
Contact:
Jet Aviation St. Louis
Tel.+1 800 222 0422
Tel.+1 618 646 8000
Fax+1 618 646 8877
[email protected]
Outlook 01/2014 // 53
Jet Aviation
restructures FBO
management
in EMEA & Asia
1
2
Contact:
Jet Aviation Geneva Tel. +41 58 158 1811
Fax +41 58 158 1815
[email protected]
1Bernard Ratsira, Director
of FBO Client Relations,
EMEA and Asia
2Joâo Pedro Pires Martins,
FBO Manager, Jet Aviation
Geneva
To ensure uncompromising
service levels as the company grows, Jet Aviation has
created a new regional
client relations position and
appointed Bernard Ratsira
director of FBO Client
Relations for EMEA and
Asia. With Jet Aviation for
more than 30 years, Ratsira
has been directing operations in Geneva since 1988.
His new role includes
developing client relations
and promoting customer
service excellence in
the EMEA and Asia region.
The company has
appointed Joâo Pedro Pires
Martins to succeed Ratsira
as manager of the Jet
Aviation Geneva FBO. A
15 -year industry veteran,
Martins is responsible in his
new position for overseeing
the Geneva FBO operation
and ensuring continuity of
the highest service standards. He joins the company
from VistaJet Group, where
he served as head of Global
Purchasing and Logistics
since 2011, and held a
number of senior management positions with NetJets
Europe prior to that.
Dusseldorf and Berlin
support business
aviation community
in Germany
Jet Aviation Dusseldorf and
Jet Aviation Berlin recently
hosted a customer cocktail
reception and dinner in
Dusseldorf, welcoming
approximately 60 customers
and members of the German
Business Aviation Association ( GBAA ). With the first
2014 quarterly GBAA
meeting reviewing traffic
and slot strategy at Dusseldorf airport the next day,
the dinner served to boost
54 // Jet Aviation // Inside
membership attendance
to demonstrate the concern
of the business aviation
community.
“We really appreciate
Jet Aviation’s support,” said
Dr. Bernd Gans, Head of
the GBAA Board. “Record
attendance at our meeting
clearly established
the importance of business
aviation in Germany.”
Contact:
Jet Aviation Dusseldorf
Tel.+49 211 421 7062
Fax+49 211 421 7063
[email protected]
Jet Aviation Berlin
Tel.+49 30 6091 8260
Fax+49 30 6091 8261
[email protected]
Dubai operates from
DWC during summer
construction
With runway construction
already underway at Dubai
International Airport, Jet
Aviation Dubai is now
supporting full FBO, line
maintenance and AOG
services from the company’s
Dubai World Central ( DWC )
facility.
Runway restorations
are scheduled to conclude
on July 21, 2014, and
the company will provide
services from DWC throughout the construction period.
Following runway resur­
facing, Jet Aviation Dubai
will resume full maintenance and FBO operations
at Dubai International
Airport and continue
providing FBO services from
DWC.
In related news, the
General Civil Aviation
Authority ( GCAA ) of the
United Arab Emirates
presented Jet Aviation Dubai
its Safety Performance
award at its recent triennial
Strategy Plan ( 2014 – 2016 )
meeting.
Contact:
Jet Aviation Dubai (DWC)
Tel.+971 4 877 9670 / 01
Fax+971 4 887 9473
MTX: [email protected]
FBO: [email protected]
Jet Aviation
Palm Beach hosts
its 14th Annual
La Bella Macchina
For its 14 th Annual La Bella
Macchina (“The Beautiful
Machine”), Jet Aviation
opened the doors at its Palm
Beach facility to showcase
spectacular displays of
business aircraft – including
a Bombardier Challenger
300 of its new partner,
VistaJet – Ferrari automobiles and luxury lifestyle
exhibitions.
More than 1,400 guests
gathered to celebrate
high-performance machinery, featuring aircraft
from many of the world’s
leading manufacturers and
approximately 50 classic
and late-model Ferraris.
A silent auction was
also held, raising $ 22,000
for the Boys & Girls Clubs
of Palm Beach County,
a non-profit youth development organization dedicated
to promoting educational
and vocational oppor­t unities,
as well as the health and
character of boys and girls
in a safe, nurturing environment.
Contact:
Jet Aviation Palm Beach
Tel.+1 561 233 7200
Tel.+1 800 538 0724
Fax+1 561 233 7240
[email protected]
Left to right: Jaene Miranda, President & CEO of Boys
& Girls Clubs of Palm Beach County; Don Haloburdo,
Vice President and General Manager of Jet Aviation Flight
Services; Kae Jonsons, Vice President of Foundation
Development and Donor Relations of Boys & Girls Clubs
of Palm Beach County; Rob Smith, President of the
Jet Aviation Group
Outlook 01/2014 // 55
Jet Aviation measures up
with top ratings
Jet Aviation Palm Beach
FBO Team
Contact:
Jet Aviation Geneva
Tel. +41 58 158 1811
Fax +41 58 158 1815
[email protected]
Jet Aviation Dubai
Tel.+971 4 207 3411
Fax+971 4 299 0701
[email protected]
Jet Aviation’s refurbishment
program and corporate
rebranding introduced last
year at its FBO facilities in
Geneva and Zurich received
a firm customer vote of
approval in AIN’s International FBO Survey. Jet
Aviation Geneva ranked
2 nd in 2014, up from 9 th last
year, while Jet Aviation
Dubai moved up to 12 th from
16 th and Zurich came in 13 th,
having placed 17th in 2013.
In Professional Pilot’s
2014 PRASE Survey of more
than 4,000 FBOs in the U.S.,
two of Jet Aviation’s FBOs
were ranked in the top 40,
including Jet Aviation Palm
Beach (13th) and Jet Aviation
Teterboro (35th). In addition,
Jet Aviation came in fourth
in the Best Small U.S. FBO
Chain class, while Jet
Aviation Dubai was voted
second in the Best Middle
East and African FBO
category. The AIN Survey
further distinguished
Jet Aviation Palm Beach,
which placed in the
top 20 % of all U.S. FBOs.
Jet Aviation Zurich
Tel. +41 58 158 8466
Fax +41 58 158 8475
[email protected]
Jet Aviation Palm Beach
Tel. +1 561 233 7200
Tel. +1 800 538 0724
Fax +1 561 233 7240
[email protected]
Jet Aviation Teterboro
Tel. +1 201 462 4000
Tel. +1 800 538 0832
Fax +1 201 462 4005
[email protected]
Jet Aviation expands
its global aircraft
management fleet
Jet Aviation has recently
added eight new aircraft to
its global managed fleet,
including its fifth new
EMEA-based Gulfstream
G 650.
To its rapidly expanding
fleet in Asia, the company
added a second Gulfstream
G 650, a new G550 and
two G450 s this year,
increasing the fleet in the
region to 30 aircraft – up
from just three aircraft five
years ago. All but one
of the G450 s are based in
Hong Kong and will be
maintained by Jet Aviation’s
Hong Kong maintenance
facility – a Gulfstream
Factory Authorized
Warranty Service Center for
G450 / G550 / G 650 aircraft.
In the U.S., the company
has added Challenger 300
and 604 aircraft to its fleet
in Teterboro, as well as
a Bombardier Global 5000
based in Palm Beach.
Contact:
Jet Aviation Flight Services
Aircraft Management & Charter
The Americas
Tel. +1 201 462 4100
Tel. +1 800 736 8538
Fax +1 201 462 4033
[email protected]
Jet Aviation expands
partnership
with Wheels Up
Jet Professionals
partners with IFBOA to
offer its PEO Services
Jet Professionals continues
to support small and
medium-sized business
aviation companies through
its Professional Employer
Organization ( PEO ) by
enabling them to concentrate
on the operational and
revenue-producing aspects
of their business.
56 // Jet Aviation // Inside
The company recently
partnered with the Independent Fixed Base Operators
Association ( IFBOA )
to directly deliver tailored
employee benefits and
payroll services to its members. With this agreement,
the Jet-Pro PEO service
offering will ensure that
IFBOA member companies
have the opportunity to
stabilize benefits, payroll
and HR administrative
costs, while ensuring
compliance with healthcare
reform and ultimately
increasing employee satisfaction.
Contact:
Jet Professionals, LLC
Tel.+1 201 393 6900
Tel.+1 800 441 6016
Fax+1 201 462 4081
[email protected]
Challenger 300 – Super Midsize Aircraft
Jet Aviation Business Jets
Aircraft Management & Charter
EMEA
Tel. +41 58 158 8787
Fax +41 58 158 8785
[email protected]
Jet Aviation Business Jets
Aircraft Management & Charter
Asia
Tel. +852 2215 3833
Fax +852 2215 3899
[email protected]
Jet Aviation Flight
Services has expanded its
partnership with Wheels
Up to benefit the private
club membership by adding
midsize, super midsize
and large jet aircraft access
options.
Wheels Up members
pre-purchase flight time
with Jet Aviation’s fleet at a
fixed hourly rate, and can
further profit from an
hourly package program
that includes guaranteed
availability with a minimum
10 -hour advance call-out
period. Members now have
access to Jet Aviation’s
midsize charter aircraft
such as the Cessna Citation
Excel and Hawker 800XP;
its super midsize aircraft
including the Citation X
and Gulfstream G200 ; and
large aircraft within its
fleet such as the Challenger
605 and Gulfstream G450.
The jet options will be
introduced in stages across
five regions within the U.S.
In recognition of the
company’s commitment
to safety, quality and
con­t inuous improvement,
Jet Aviation Flight Services
recently received International Standard – Business
Aircraft Operations (ISBAO ) stage 3 certification
from the International
Business Aviation Council.
Contact:
Jet Aviation Flight Services
Aircraft Management & Charter
Tel.+1 201 462 4100
Tel.+1 800 736 8538
Fax+1 201 624 7338
[email protected]
Outlook 01/2014 // 57
MAX SPEED: MACH 0.85
MAX RANGE: 6,667 KM
MAX ALTITUDE: 13,716 M
Large-Cabin | Mid-Range
outlook Magazine 01/ 2014
Publisher:
Heinz r. aebi
Project management:
caroline kooijmans­schwarz
author :
stephanie schwartz
Instruments for Professionals. More than
a slogan, it’s a vocation. Or obsession is
quality. Our goal is performance. Day after
day, we consistently enhance the sturdiness
and functionality of our chronographs.
And we submit all our movements to the
merciless scrutiny of the Swiss Official
Chronometer Testing Institute. One simply
does not become an aviation supplier by
chance.
Jet aviation inside:
mary­lou murphy, charles bosworth,
patricia mcnamee
Photography:
prada, albert Watson, nacasa & partners,
luna rossa, armin linke, tut ankhamun –
sein grab, seine schätze, semmel concerts
gmbH, Hannes schmid, Dassault falcon,
maxon motor, nasa, Hiltl, frank nader
concept and design:
reD lion
Zurich i switzerland
Printed by:
elanders gmbH & co. kg
Waiblingen i germany
contact:
Jet aviation management ag
p.o. box 229
cH­ 8058 Zurich airport i switzerland
tel. + 41 58 158 8888 i fax + 41 58 158 8885
jmgt @jetaviation.com
Print run:
30,000 copies
orders:
jmgt @ jetaviation.ch
copyright:
outlook is published semi­annually.
the contents may be reproduced with credit
to outlook, the magazine of Jet aviation
advertising inquiries:
for all advertising inquiries please call
caroline kooijmans­schwarz at
+ 41 58 158 8867 or
[email protected]
© copyright 2014 Jet aviation.
all rights reserved.
Dassault Aviation is a leading aerospace
company with a presence in over 80
countries. It produces the Rafale fighter jet
as well as the complete line of Falcons.
The company employs a workforce of 11,000
and has assembly and production plants
in both France and the United States and
service facilities around the globe. Dassault
Falcon is the recognized global brand for
Dassault business jets which are designed,
manufactured and supported by Dassault
Aviation and Dassault Falcon Jet Corp.
Since 1963, over 2,250 Falcon jets have been
delivered. The family of Falcon jets
currently in production includes the tri-jets
– the Falcon 900LX and the 7X – as well
as the twin-engine 2000 S, the 2000LXS and
the new 5 X.
In 2013, Fawaz Gruosi celebrated the 20 th
Anniversary of de GRISOGONO. Since the
brand’s creation, he has raised it to the
rank of one of the most famous international
luxury brands of its generation with passion,
creativity and innovation & has been
loyal to its unique elegant, graceful style.
Offering over 5000 square-metres of surface
spread over three floors, and employing
60 people, the DeWitt Manufacture, located
in Meyrin (Geneva), houses all the traditional watchmaking activities, from design
right through to production and quality
control. Mr de Witt, the inventor of these
watches is the descendant of emperors and
kings in Europe, including such illustrious
ancestors as the Emperor Napoleon, King
Jerome of Westphalia, and King Leopold II
of Belgium. DeWitt proudly defends
passion, tradition, creativity, integrity, and
watchmaking excellence, in a deliberately
bold vision: the creation of a different
type of Haute Horlogerie that is noble and
authentic, combining age-old expertise and
exceptional technical excellence.
Gulfstream Aerospace Corporation, a
wholly owned subsidiary of General
Dynamics ( NYSE : GD), designs, develops,
manufactures, markets, services and
supports the world’s most technologically
advanced business-jet aircraft. Gulfstream
has produced more than 2, 200 aircraft
for customers around the world since 1958.
To meet the diverse transportation
needs of the future, Gulfstream offers a
comprehensive fleet of aircraft, comprising
the Gulfstream G150™; the Gulfstream
G280™; the Gulfstream G 450™; the
Gulfstream G550™ and the Gulfstream
G 650™. Gulfstream also offers aircraft
ownership services via Gulfstream
Pre-Owned Aircraft Sales™. The company
employs more than 14,000 people at 12
major locations.
Halter AG is one of the leading building
and real estate services companies in the
German-speaking part of Switzerland.
Its strategic business units Halter Entwicklungen (real estate development), Halter
Generalunternehmung (general contractor) and Halter Immobilien (real estate
services) operate independently in the
market, but can draw on the know-how of
the entire group. Together they cover
development, construction of and services
around real estate, all the core competencies needed for the entire life cycle of a
property. In the centre is a quintessential
mission: the identification and implementation of the potential of land, construction
projects and real estate.
T HE TOTAL PACKAGE
Delivering superiority in all aspects of a super midsize aircraft, the Gulfstream G280™
gives you outstanding performance, comfort and advanced technology. Add to that
its exceptional fuel efficiency, low operating costs, and Gulfstream’s award-winning
worldwide product support network and it’s clear that the G280 is everything you want
in a new aircraft. And more.
To contact a Gulfstream sales representative in your area, visit GULFSTREAM.com/contacts.
Range shown is based on NBAA IFR theoretical range at Mach 0.80 with four passengers. Actual range will be affected by ATC routing,
operating speed, weather, outfitting options and other factors.
58 // Masthead and advertisers
GULFSTREAMG280.com
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Made in Switzerland by BREITLING
British chic, Swiss excellence: Breitling for Bentley combines the best
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Class and audacity. Power and refinement. Perfectly epitomising this
exceptional world, the Bentley B05 Unitime houses a Manufacture
Breitling calibre, chronometer-certified by the COSC (Swiss Official
Chronometer Testing Institute), the highest benchmark in terms of
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A proud alliance between the grand art of British carmaking and the
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