ISSUE 01/2018 ART AEROSPACE SPORT GOURMET LOOK Magazine 01- 2018.pdf6 // Cover Story // Patek...

ART

AEROSPACE

CULTURE

SPORT

GOURMET

JET AVIATION

COVER STORY

PATEK PHILIPPE

out— LOOK

ISSUE 01/2018

Outlook 01/2018 // 3

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As part of our 50th anniversary jubilee last year, we introduced our “One Jet” transformation. The aim is to stream-line our services and offer an even better customer experience. In our first post 50-year editorial, it is my pleasure to share with you some good news from One Jet across the world.

Most of you will have heard about our recent acquisition of Hawker Pacific (page 50). This will expand our current portfolio by nineteen locations, including seven FBOs and fourteen MRO facilities, as well as allow us to enter new markets in the Asia-Pacific and Middle East regions, bringing more options and value to our customer base worldwide.

There has also been significant expansion in the existing Jet network. With the full support of Singapore’s Economic Development Board (EDB), Jet Aviation celebrated the opening of its third hangar at Singapore Airshow in February. The new FBO at Dubai South is now fully operational (page 53), offering customers more choice and service possibilities. Our new wide-body hangar in Basel is also slated for operation at year’s end (page 57), while construction of new FBO facilities in Van Nuys will soon begin (page 53).

In Basel, Jet Aviation’s MRO and Completions hub recently passed EN9100 and EN9110 certification audits. The MRO facility has delivered a beautifully refurbished Boeing 747, while our Refurbishment, Modi-fication and Upgrade capabilities are meeting strong demand across facilities in Basel, Geneva and Singapore (page 51). In Completions, several successful narrow-body redeliveries last year, including a stunning BBJ with simultaneous dual EASA and FAA certification, point towards an exciting 2018 and beyond.

DEAR BUSINESS FRIENDS AND COLLEAGUES,

One of the things that we have learned through our customer surveys and recent acquisitions is the impor-tance of regularly engaging our customers with open and transparent discussion. We have been establishing Customer Advisory Boards across all regions in the U.S., Europe and Middle East, and Asia-Pacific, to give you the chance to share your feedback, and give us a deeper understanding of how we can better respond to your service requests in a timely manner.

This year is already shaping up to be an eventful one. Our new expan-sion and developments are giving us the opportunity to strengthen our commitment to becoming the world’s leading business aviation service provider, providing customers with more choice and more consistent Jet quality wherever they are in the world. And we wouldn’t be here without you, our customers and partners. We are eager to hear from you, so please do not hesitate to get in touch, or, if you are in Geneva for EBACE, drop by our booth (#A18) and share your thoughts.

All the best,

Rob [email protected]

EDITORIAL

03 COVER STORY

06 Patek PhilippeART

12 Fondation BeyelerAEROSPACE

20 Embry-RiddleCULTURE

28 VallettaSPORT

36 Formula EGOURMET

42 TeuscherJET AVIATION

50 Inside News

CONTENTS12

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6 // Cover Story // Patek Philippe Outlook 01/2018 // 7

Patek Philippe is classic. In a world gone loud, the company emphasizes its history and focuses on handcrafted quality. In its early years, it sent watchesto royalty and members of the nobility.Today, it promotes its value with the slogan, “You never actually own a PatekPhilippe. You merely look after it for the next generation.”

The time-honored world of Patek Philippe

Each year, Patek Philippe attends Baselworld, the world’s largest watch and jewelry show. The fair takes place at the Basel Exhibition Center, and Patek Philippe has a prestigious loca-tion, in Hall 1, at the crossroads to Hall 2. It shares this prominent inter-section with fellow Swiss watchmakers Hublot, Rolex and Zenith.

These companies have bumped up their presentation after the hall was renovated a few years ago by hometown architects Herzog & de Meuron, who also designed the Tate Modern, the Beijing National Stadium and the Elbe Philharmonic Hall. Before the renova-tion, watchmakers had been forced to limit themselves to two-story stands. Now three stories are possible, and some of the structures almost resemble flagship stores.

At this main intersection, Patek Philippe appears to be the odd one out. It does not have bling. There is no race car or space rover out front. No screens suggest that if you own a Patek Philippe, you will share a world with fighter pilots or those who walk, in inner har-mony, along the end of giant canyons.


The stand is elegant. It is classic and understated in an environment where loud seems to be the order of the day.

Understated does not, of course, mean simple. The stand has twelve sales rooms, three press rooms, three conference rooms, three kitchens, a bar, a restaurant for the staff, offices, and sixteen outward-facing showcases.

The action on the two upper floors is ensconced in a white box that almost appears to be floating. These are the private areas, away from the public.

Visitors are allowed inside on the ground floor, even though it is not imme-diately clear that it is acceptable to stroll past the watchful security guard. Those who did venture inside this year were rewarded with a look at the 2018 Rare Handcrafts collection.

The timepieces were stunning. They were works of art.

Patek Philippe has a long tradition of handcrafts. Its early watches were all

one-of-a-kind pieces, and they too were aesthetic and technical works of art.

The display at Baselworld included clocks, pocket watches and wrist-watches with enamel work. French- speaking Switzerland has long been known for this craft, and Patek Philippe adopted the art early. The company still does enamel work for watches and sup-ports artisans in this rare and demand-ing craft, so that the art is not lost.

Cloisonné enameling involves taking powdered glass that has been colored with metal oxides, adding water to make a paste, applying it to a metal base and then firing it in a kiln at temperatures over 800 degrees Celsius. On some of the clocks, Patek Philippe embedded gold and silver leaf between layers of enamel, creating a shimmering effect. Many of the clocks were made with the cloisonné technique, in which the design is formed with a fine gold wire, then the partitions are filled with enamel. The colors in the

enamel have an intensity and rich shine that give the images on the clocks a whole new dimension.

The Patek Philippe stand also show-cased pocket watches and limited-edi-tion wristwatches. One pocket watch featured a low-relief engraving of a gal-leon, in white gold. The multilayered effect of depth was fascinating. The en-graving took 230 hours.

Several other pocket watches were decorated with enamel miniature painting, which means that the enamel is mixed with oil rather than water, then applied with a fine brush to a ground layer of enamel. This is another Patek Philippe specialty.

Two of the wristwatches on display showed scenes from the high alps. The faces were made with marquetry, the woodcraft in which an artisan cuts ve-neers according to a drawing and glues them to a base. The “Roped Alpinist” wristwatch was made with 262 pieces

from 27 species of wood. “Lac d’Emos-son,” based on a painting of an alpine reservoir in the Swiss canton of Valais, was made with 195 pieces from 22 spe-cies of wood. It might seem that an image created from pieces of wood would look simplistic, but this is not the case at all. The natural vein in the wood and its various shades of color create a lively and complex image.

THE COLLECTION

Around the outside of the stand, Patek Philippe displayed its current collec-tion of over 200 wristwatches. Four-teen models are new this year, includ-ing Reference 5531, which has clois-onné enamel depicting a view of the Lavaux vineyards on the shores of Lake Leman. The watch also has a world time function, as well as a minute re-peater, which is a patented mechanism

that chimes the local time on demand.Many of the watches have a simple,

classic elegance. Several of them also come in a version with a little more shine. The Ladies Automatic Nautilus, for example, can be adorned with 2,328 diamonds, as in Reference 7021/1G. The men’s self-winding equivalent, Ref-erence 5719/10G has 1,343 diamonds.

Patek-Philippe develops and pro-duces all movements in-house, in the Geneva area. Finishing, decoration and assembly of the movement parts are highly skilled work done by hand, usually with a watchmaker’s eyeglass, because the parts are truly tiny. It gen-erally takes between nine months and multiple years to finish a piece.

The company makes about 60,000 watches each year and is said to have made less than a million watches over its 179-year history. Patek Philippe has been owned by the Stern family since 1932, and is currently run by the third

generation, Thierry Stern. His wife Sandrine heads the creation division.

Patek Philippe keeps a record of every watch it has sold. These were originally handwritten entries in books; now the records are digital, though printed versions of the entries are still archived. These entries give de-tails about the watch and its sale, as well as any repairs that have been done. A sea of little drawers in the restoration area holds the different parts that make it possible to restore the wide variety of watches made since 1839.

Patek Philippe watches are known to go up in value over time, some of them considerably. In 2016, a Reference 1518 in stainless steel, a rare watch with a perpetual calendar chronograph with moon phases, sold at auction for over $11 million. It was the highest price ever paid for a watch at auction, until some-one bought Paul Newman’s Rolex for $17.8 million about a year later.

Reference 5531 – a minute repeater that chimes the local time (top left). Sandrine and Thierry Stern (top right). Wristwatches with marquetry: “Lac d’Emosson” (bottom left) and “Roped Alpinist” (bottom right)

Patek Philippe at Baselworld (top left). Domed enamel clock (top right). White gold pocket watch (bottom left and middle). Cloisonné enameling (bottom right)


PILOT TIMEPIECES

The Patek Philippe Museum exhibits the company’s early watches for pilots, made at a time when aircraft had open cockpits. These watches, worn just below the elbow over a thick leather jacket, displayed time and altitude. They also displayed hour angle for precise positioning before the age of GPS navigation.

THE MUSEUM

The Stern family has a spectacular collection of antique Patek Philippe watches dating back to the company’s inception in 1839, and it displays hun-dreds of them in the Patek Philippe Mu-seum. The museum also displays 700 other watches ranging from the earliest portable time pieces of the 16th century to 19th century watches. The antique pieces are intricate, interesting and often covered with jewels. The display is a glimpse into the wonders that humans can produce given enough time and re-sources. It also gives visitors an idea of the playing field Antoni Patek encoun-tered when he began business in 1839.

Patek was a decorated soldier in Poland, forced to emigrate after the November Uprising against the Rus-sian emperor failed. He first teamed with a fellow Pole, Franciszek Czapek, who was of Czech descent. Many of the Patek Czapek & Co watches were made

for Polish nobility. They often show scenes from Polish history, created through incredibly detailed engraving or enameling.

Patek and Czapek parted ways after a few years, and Patek recruited the French watchmaker Adrien Philippe. Philippe had invented the first keyless winding mechanism, which he pat-ented in 1845.

Patek Philippe’s clients from the 1840s to the 1860s were usually members of the nobility and royalty. The museum displays watches that went to this elite, who included the King of Siam, the Prince of Bulgaria, the Prince of Egypt, the King of Sweden and Norway, the Queen of Spain, the Emperor of Russia and Queen Victoria of the United King-dom of Great Britain and Ireland.

It also shows how both style and functionality progressed over the years. Around the time of the First World War,

for example, wristwatches became popular for men, ending the view that watches worn on the wrist were just an accessory for women. Soldiers had begun wearing wristwatches, because they did not have a free hand, or the time, to pull out a pocket watch.

The antique part of the museum’s collection begins with watches made in an era when precise timekeeping was not technically possible, and exact time did not play a large role in society. The watches were largely decorative. Then advances enabled better time indica-tion, and other developments, such as stagecoach timetables and train sched-ules, boosted the importance of time-keeping. Today, time may be more for-malized and important than ever, but almost everyone carries a mobile phone that shows this information. Watch-makers once again find themselves in a new era.

“One of the largest challenges for top traditional watchmakers,” says Helen Brand, head of European luxury goods analysis at the Swiss bank UBS, “is how to keep their relevance to a younger consumer while retaining brand exclusivity.” Patek Philippe is betting that this younger generation will recognize craftsmanship and value tradition. It is not jumping on trends, but rather counting on its recognized ability to create exceptional quality.

In UBS’s consumer research, Patek Philippe consistently places in the top two watch companies in terms of exclu-sivity, investment value, quality and status. The company strategy seems to be working.

Like all top-tier watchmakers, Patek Philippe uses its most impressive work to maintain its image. In a side room at the Patek Philippe Museum, Caliber 89 is displayed. The pocket

watch was created in 1989, for the com-pany’s 150th anniversary. There were four made – one each in yellow gold, white gold, rose gold and platinum.

The watch was made with 1,728 components. It has 33 complications and 24 hands. At the time, it was the most complicated watch in the world. Twenty-nine years later, it is still con-sidered the world’s second-most com-plicated watch.

As a guide gave a tour of the mu-seum this past March, she was stopped by a man and asked whether it would be possible to buy the watch. Over the course of an hour-long tour, this was the second young man to ask about buying something from the display cases. The museum is not selling its col-lection, but it does seem that the Patek Philippe fascination has made the jump to a new generation.

A glimpse into the wonders that humans can produce given enough time and resources.

The Patek Philippe Museum in Geneva (top left). Antoni Patek (top middle). Adrien Philippe (top right). Pocket watch given to the King of Siam (bottom)

Handcrafting watches (left). Caliber 89, with its 1,728 components, 33 complications and 24 hands (right)

The Fondation Beyeler museum is light and airy, with huge panes of glass that look out onto ponds and the greenery of a park. There is an easy flow through the rooms – a simple elegance. The building is beautiful but not overwhelming. It serves the art inside. And it creates a sense of well-being.

14 // Art // Fondation Beyeler

known for his eye for art, his ability to assess people and his love for a gamble. He took risks.

“In the ’50s, he was a really fearless dealer,” says art historian and Fonda-tion Beyeler curator Ulf Küster. “He was in a position to define what is good. He could in a way define taste.”

Beyeler was not a gallerist. He rarely sold work directly from artists, but rather worked within secondary mar-kets. Küster says it is amazing how many art transactions he was a part of during his time. He was not only buying and selling on his own, but also served as an advisor and took part in joint deals that involved partnering to pay high prices at auctions. “It is astonish-ing to see how influential he was,” says Küster. “He was connected to so many really important works of art.”

Beyeler was one of the founders of Basel’s art show. He was reluctant when the suggestion first came up, be-cause he wondered whether the city was the right place for such an event. He insisted that if it was going to hap-pen, it would have to be international

This is no coincidence. Ernst Beyeler had something very specific in mind when he commissioned star architect Renzo Piano to design a building to house the Beyeler art collection. He wanted a place that would energize vis-itors and do justice to the artwork.

He was especially focused on light, preferring the rooms be lit by natural light and wanting to create an interac-tion between the art and the natural world outside. Daylight can be a prob-lem for art, so the light had to be filtered and limited. Getting the light just right, as well as fine-tuning other aspects of the building to fit Beyeler’s vision, required constant refinement. These frequent changes delayed completion and made Piano’s life less than easy.

The museum presented to the world in October of 1997 was enthusiastically received. It is Switzerland’s most vis-ited art museum. And it is the solution to a problem faced by only a very lucky few: what to do with a stellar art collec-tion at the end of one’s life.

Ernst Beyeler was an art dealer. He was an extremely good art dealer,

“He was connected to so many really important works of art.”

Claude Monet, Nymphéas, 1916 – 1919 (top left). Henri Matisse, Nu bleu, la grenouille, 1952 (top right). Ernst and Hildy Beyeler in front of Galerie Beyeler in 1997 (bottom left)

The Monet room in 2013: the art leading to the lily pond on the other side of the window (top left). Curator Ulf Küster (top right). Head of a life-size Malaggan puppet from Beyeler’s small collection of ethnographic art objects (middle right). Ernst Beyeler at an Art Basel fair (bottom right) and selective. Art Basel became the

most important art fair in the world. This then brought more people to Basel and helped his business.

Over the years, there were some pieces that he kept. Sometimes it was because he could not resist them. Some-times it was because he could not sell them at first and then became very at-tached to them.

Twenty to thirty of these pieces were in his house. Some filled his office, and many were in storage across the street from his gallery.

In 1982, he and his wife Hildy, who also had a strong attachment to the art they owned, formed the Beyeler Foun-dation to truly separate their collection from the works for sale at the gallery. In the late 1980s, they agreed to a request by the Centro de Arte Reina Sofía in Madrid to display their full collection.

It was the first time the couple had seen their collection displayed in one place. It was the first time the world re-alized what they had.

And many in Basel got a little nerv-ous. They did not want the works end-ing up abroad.

The Beyelers also wanted the art close to home. They could have do-nated the works to the Basel art mu-seum, the Kunstmuseum Basel, but then the pieces might only have been shown every five years or so. Ernst Beyeler wanted a wide variety of people to be opened up to art. He also wanted control. He liked control. And so he built his own museum.

THE MAN

Ernst Beyeler was known for being charismatic, with an exceptional abil-ity to draw people in and motivate them. He was tall, good looking and charming. He could put on a grand show when it was called for, but he also truly liked talking to all kinds of peo-ple. He was not elitist.

He was a perfectionist – demanding this quality from others and also work-ing extremely hard to achieve it him-self. He was modest, often riding his bicycle around town and crediting good luck for much of his success.

His father had worked for the Swiss railways, and his mother had died when he was young. His father was strict, and when Beyeler was a young man, his father often considered him lazy and irresponsible.

Beyeler entered the Swiss appren-ticeship program and trained to be an office employee. He found this boring and was considering a move to West Africa. He took classes in art history and economics, and he worked at an antiquarian book and print shop in the evening.

The shop was owned by Oskar Schloss, a German who had converted from Judaism to Buddhism and was a publisher of Buddhist texts. The two had long, deep discussions until late into the night about art and Eastern thought. Schloss also taught Beyeler how to make reluctant buyers interested.

Schloss died suddenly in 1945, and Beyeler took over the shop. Shortly thereafter, concerned about the youth

IN THE NORTH OF SWITZERLAND

The Beyeler museum sits in Riehen, just north of Basel. If you look out the north-facing windows of the museum, you can see both Germany and France.

Basel is Switzerland’s third-largest city. It is where Jet Aviation got its start, in 1967, with one maintenance hangar. Today, Jet Aviation has its global headquarters at the Basel EuroAirport, where it offers mainte-nance and completions services.

Outlook 01/2018 // 17 16 // Art // Fondation Beyeler

G. David Thompson from Pittsburgh. It included works by artists ranging from Cézanne, Matisse and Klee to Picasso and Pollock.

He kept his gallery in the medieval building that had housed the book-store, with its many small rooms and creaky, uneven floors. He only had three employees, plus his wife who did the books and cultivated local connec-tions. He did have agents on the look-out for interesting purchases, espe-cially in France.

His relationship to art was a very emotional one. He would speak of getting a lump in his throat, and this would mean that he had to have the piece. “He really had these two sides in him,” says Küster. “He was a genius business dealer with all these wonder-ful business ideas. On the other hand, he had this feeling for quality – a very direct, unreflected feeling. And then he could be absurdly unreasonable when it came to prices. Sometimes he set world records at auctions.”

Being located in Basel could make it hard to sell works. Beyeler often had a large inventory in storage. He was fortunate to have had a lot of works on hand when art prices rose steeply in the 1980s. This made him a very wealthy man.

In a speech for his 80th birthday, he said, “Not being able to say ‘no’ when an important work showed up was my weakness. But it became my strength.”

and inexperience of the new owner, a bank wanted a 6,000 Swiss franc loan paid back as soon as possible.

Beyeler did not have any money. Through extensive research, however, he was able to show that 80 Goya aquatint etchings that Schloss had been trying to sell were not only a first edition of Caprichos, but that some were actually early master prints. Armed with this information, he was able to sell the etchings to Zurich’s museum of modern art, the Kunsthaus Zurich, and pay off his debts.

As it became clear to him that sell-ing art was more lucrative than selling books, he covered the bookshelves with cloth and sold art. By 1951, he was completely focused on art.

He held over 250 exhibitions that are often considered museum quality. He made beautiful, expensive catalogues, which was not common at the time. “When he met Picasso,” says Küster, “Picasso said, ‘I know you, because you do those wonderful catalogues.’”

Beyeler took big positions, buying expensive works of art. Throughout his career, he was able to find people who gave him advice and trusted him enough to loan him money. He also bor-rowed money from banks.

A big jump in his business occurred when he was able to outcompete a wide field of dealers and buy over

600 works from one of the largest private collections, that of the steel magnate

THE MUSEUM

The Beyeler collection now includes about 320 pieces. It is mostly made up of modern art, created between roughly 1880 and the 1970s, alongside a consid-erable number of contemporary works of art. Thanks to the friendship Beyeler had with Picasso, the collection has about 30 of the artist’s works. It also has cut-outs by Matisse, Rousseau’s fa-mous The Hungry Lion Throws Itself on the Antelope, Kandinsky’s Improv-isation 10 and two late Van Gogh landscapes. Strong works by Monet, Degas, Cézanne, Seurat, Klee, Miró, Giacometti, Mondrian, Dubuffet, Léger, Rothko, Bacon and many others are also in the collection.

“It’s really composed of master-works,” says Küster. “There’s no flaw in the collection. He never wanted to have mediocre works.”

Beyeler often chose pieces that some considered difficult. “It’s not about nice art,” says Küster. “He was always looking for a bit of a punch.”

Ernst Beyeler wanted the collection to continue to grow. He said that a mu-seum that stops collecting is dead.

About twenty works have been ac-quired by the museum since Beyeler died in 2010. Some are modern, and many are contemporary. In 2011, the museum acquired a sculpture by Louise Bourgeois. This was the first piece by a female artist to become part of the collection. The museum has since been trying to assemble an important group of her work and now owns four pieces and has several more on long-term loan.

Exhibitions of the standing collec-tion change about every three to four months. There are no pieces perma-nently on display, though a few, such as a three-panel Monet Water Lilies painting, are almost always exhib-ited, because visitors are always eager to see them.

BACON-GIACOMETTI

The exhibition displays about 100 works by the two men, who met late in Giacometti’s life. It is the first-ever joint museum exhibition of their work, illuminating the relationship between their artistic personalities. Bacon and Giacometti both take the human figure as their main point of artistic reference and occupy themselves with the fragmented and deformed body.

Three Studies for Portraits (including Self-Portrait) by Francis Bacon, 1969 (top left). Alberto Giacometti’s L’homme qui marche II, 1960 (bottom left)

Alberto Giacometti’s Caroline (top right) and Grande tête mince (middle). Giacometti (left) and Bacon in 1965 (bottom right)

“He was always looking for a bit of a punch.”

18 // Art // Fondation Beyeler

tured later work, including a series of paintings showing an extremely cold winter and the breaking up of ice on the Seine River. Monet was working with shadow and reflection. “He had broken free of pure impressionism,” says Küster, “He was playing with what painting is able to do.”

If people come to the popular ex-hibit, they will then often also come to others. “You can then sometimes dare to do less successful themes,” Küster says. These other exhibits often involve contemporary art.

The museum is continuing Ernst Beyeler’s emphasis on getting young people interested in art. It has made ad-mission free for those under 25 until the end of this year and it has a Young Art Club. It has also begun hosting elec-tronic music events during the summer months in the garden. In 2017, several thousand young people attended the events, and some of them also wan-dered down to the museum itself.

The walk to the museum entrance is slightly downhill, in contrast to the fre-quent climb up esteemed steps to get to “a temple of art.” The entrance is also on the narrow end of the museum’s rectangular shape, which makes the building seem less imposing. Küster describes the museum as human scale and the approach as welcoming.

“Ernst Beyeler wanted to share with many, many people,” says Küster. “Part of the success of the museum is really based on that formula.”

There are also three to four tempo-rary exhibitions each year. These are big names. The first part of this year Georg Baselitz was on display. A Bacon-Gia-cometti exhibition will now run until September 2, followed by a Balthus ex-hibition in autumn. A public art project by Ernesto Neto will also be presented in Zurich’s main train station.

As a private museum, Fondation Beyeler needs to draw people in. It cov-ers a large part of its costs through en-trance fees, the shop, the restaurant and events.

Beyeler named Sam Keller to lead the museum as his successor. Keller had been running Art Basel and was known for both his profound knowl-edge of the art market and his fresh, forward-looking ideas. The museum re-mains very strongly shaped by Ernst Beyeler, but aspects such as project management have been professional-ized, and the institution is moving for-ward in a new time.

Keller and the museum’s curators have to balance expanding horizons and provoking new thought with pro-viding the kind of exhibitions that many people will come to see. Küster says the museum does one very popular exhibition each year.

Last year, the crowd-pleaser was a Monet exhibition. The museum did not, however, exhibit the work that people might expect to see, but rather sought to expand the bounds of what people knew of Monet. The exhibition fea-

EXPANSION

Fondation Beyeler will be expanding, adding three small buildings designed by Peter Zumhor, who is originally from Basel and just designed the extension to the Los Angeles County Museum of Art. The new buildings include a House for Art, which will be used to show a larger number of works from the permanent collection, a garden pavilion used for public cultural events and an administration building. The expansion will be in a neighboring park that was previously private.

The annual summer party on the museum

grounds (top left). Georg Baselitz (top right).

Ernst Beyeler and Sam Keller (middle right).

Renderings of the extension project by

Atelier Peter Zumthor (bottom left)

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20 // Aerospace // Embry-Riddle Outlook 01/2018 // 21

The Eagle Flight Research Center was a grassroots idea. “We have a ton of pilots,” says Eagle Flight director Dr. Richard “Pat” Anderson, describing the thought at the time. “We have a ton of engineers. We should be looking at new kinds of flying machines.”

Embry-Riddle Aeronautical Univer-sity has its roots in teaching people to fly. The barnstormer John Paul Riddle got together with the entrepreneur Talton Higbee Embry, and they formed Embry-Riddle. The company first sold aircraft, then added a flight school.

Over the years, the school changed, moved, disappeared briefly and even-tually became a university. One of its hallmarks as a university is the broad and thorough aviation education that it gives its students. The buildings teem with interesting labs such as the Airline Operations Center Lab, the Spatial Disorientation Lab, the Un-manned Aerial Systems Lab, the Sub-orbital Operations Science Lab and

EAGLE FLIGHT RESEARCH CENTER

Embry-Riddle has been in the thick of aviation for 93 years. In 1998, the university formed the Eagle Flight Research Center to explore advances in aeronautics and build new flying machines. Eight years ago, the research center created the world’s first parallel hybrid aircraft. Today, it is building a flying car.

EAGLE FLIGHT RESEARCH CENTER


the High-Altitude Normobaric Cham-ber, where the oxygen level is lowered to 6%, giving students a taste of the mental confusion they might face if cabin pressure dropped.

Students choose from among a variety of degrees in aviation; applied science; engineering; computers and technology; space; safety, security and intelligence; and business. The main Embry-Riddle campus is in Daytona Beach, Florida, with another large campus in Prescott, Arizona. The uni-versity also offers online classes and has satellite campuses at many US mil-itary installations.

Flight students at the Daytona Beach campus prepare for their flights in a modern operations center and take off from the same runways used by airlines and business aviation at the

Daytona Beach International Airport. Embry-Riddle has the second-largest fleet of any university in the US.

There is a feeling of purpose on campus. The school’s website pro-claims, “You know where you’re going. We help you get there.”

The research center is both a way to move aviation forward and to give Embry- Riddle students experience with real-world projects. In 2011, Eagle Flight entered the Green Flight Chal-lenge, which was sponsored by Google and hosted by NASA. The contest goal was to design and build an aircraft that could fly 200 passenger-miles per gallon of fuel at an average speed of 100 miles per hour.

The center built the Eco-Eagle, the world’s first parallel hybrid aircraft. In this parallel system, the aircraft has

both a combustion engine and an elec-tric motor that runs from battery power, and both can turn the propeller. The system was put into a Stemme S-10 motor glider, which has a 75-foot wingspan. The Eco-Eagle carried 200 pounds of batteries. The large wing-span gave the aircraft a 50:1 lift-to-drag ratio, helping it carry weight efficiently.

The Eco-Eagle was designed and constructed by 200 student volunteers over the course of two years. The team was managed by graduate student Lori Costello, and Anderson was the faculty adviser.

When it came time to fly in the competition, the Eagle Flight team was ineligible to win the $1.35 million prize, because a required parachute system could not be installed in time. The team was, however, allowed to fly in the event. Of the fourteen teams that originally signed up for the com-petition, only three qualified to com-pete for the prize, and another two, including Eagle Flight, were eligible to fly. The other four teams that flew were all corporate teams.

Embry-Riddle received patents for both the hybrid aircraft propulsion system and the clutching mechanism that allows the shift between the two power sources. Anderson says that hybrid propulsion will be the way to go in the near future.

In practical use, the speed of electric aircraft is limited to about 200 knots, which is slower than almost all commer-cial flight. The amount of energy stored in each pound of batteries is very low compared to liquid fuel, and it has only been increasing by 3% – 5% per year. Anderson does not expect a jump in this progress in the near future. He says that bigger airplanes will have to be hy-brids to both fly at commercial aviation speeds and take advantage of the effi-ciency gains from electric propulsion.

Eagle Flight has formed the Hybrid Electric Research Consortium with Airbus, Boeing, GAMA, GE Aviation, Hartzell, Cape Air, Argonne National Laboratory, Rolls-Royce and Textron Aviation. The group has set the goal of developing a nine-passenger hybrid turboprop aircraft by 2025 and a large hybrid-electric jet by 2035.

IN THE CITIES

Eagle Flight is also working on a new hybrid aircraft, this one designed for urban mobility. It will be a “flying car.”

While many picture an automobile that can take to the skies, maybe a bit like the AMC Matador that James Bond watched roar out of a garage and fly away in The Man with the Golden Gun or the DeLorean in Back to the Future,

“flying cars” is now usually a reference to functionality. The new flying cars will be on-demand mobility personal air vehicles. They will take people short distances on short notice, usually within an urban environment.

The helicopter has served this pur-pose for years, but because helicopters are loud, there is a limit to their use in highly populated areas. “Lowering the noise is the enabling technology for urban mobility,” says Anderson.

Electric motors can run a quieter propeller, because they can have varia-ble revolutions per minute (rpm). Low-er-rpm aircraft are quieter. They can compensate for the loss of propeller speed by changing the angle of the pro-pellers, increasing torque by causing more air to be deflected. This combina-tion of low rpm and high torque is less energy efficient than the standard con-figuration, but it is useful where noise is an issue.

A parallel hybrid set up would allow a pilot to use fuel for the energy-inten-sive takeoff phase, and then cruise on battery power. Or, if noise near the air-port is the priority, the aircraft could take off on battery power and then use fuel to extend its range.

It is also possible to build a serial hybrid aircraft, in which a combustion engine powers an electric engine, which then turns a propeller. This al-

“This university specializes in safety proto-cols and sees developing new aircraft as part of its primary mission.”

Professor Pat Anderson, head of the Eagle Flight Research Center (left). The Heurobotics Mark II drone (top right). The Eco-Eagle in flight (bottom right)

Embry-Riddle’s main campus in Daytona Beach, Florida (top). The Eco-Eagle parallel hybrid aircraft (bottom)


lows for noise reduction throughout flight, but it is less efficient than even the conventional combustion engine, so it would eliminate the environmen-tal and operating cost advantages that these new designs aim to achieve.

COMMUTING BY AIR

The flying car, the VerdeGo Aero, will be made of carbon fiber, with the air-frame in an “H” configuration. It will have two wings, with four propulsion systems on each wing. It will use a par-allel hybrid propulsion system to turn eight rotors.

Uber has announced that it plans to start air taxi service in test cities in 2020 and have a network by 2023. Anderson says this is a big step for the develop-ment of these vehicles. “Here is a tech company saying they will buy a fleet of these,” he says. “That is what the invest-ment group wants to hear.” In addition to their use as air taxis, the on-demand personal air vehicles could be used for humanitarian relief efforts or as air am-bulances and express cargo carriers.

Eagle Flight is also currently devel-oping the eSpirit of St. Louis, a Dia-mond HK-36 glider it is outfitting with a fully electric propulsion system. This provides a testbed for electronic pro-pulsion technologies, which can then also be used in the hybrid systems. The team is working to reduce the weight of the battery pack and also create a battery system that meets the tough requirements for aviation certification.

The research center is working on a second application of hybrid technol-ogy. The Huerobotics Mark II is an Un-manned Aerial Vehicle (UAV) that uses

JEFF DOLAN

When Jeff Dolan, a Jet Aviation senior account director in Teterboro, was eleven years old, he was reading a flight magazine and saw an ad for Embry- Riddle Aeronautical University. “I decided that’s where I am going to college,” he says.

Six years later, it was the only college application he sent out. He was accepted and things were on track, until he took a U.S. Marine Corp physical and discovered his vision was not 20/20. His goal to fly for the military was derailed.

He decided instead to do aeronautical studies with a concentration in management. He says his Embry-Riddle education has served him well: “When I was hired at Jet Aviation, I worked in Flight Operations scheduling trips. Having an understanding of physiology, aerodynamics, weight and balance, aircraft performance, meteorology and Federal Aviation Regulations proved to be a perfect fit with my position.”

true rotors, as a helicopter does, instead of the propellers usually found on drones. This is significant, because ro-tors can be used on large aerial vehicles, whereas propellers that navigate with differential thrust become ineffective when an aircraft reaches a certain size.

Eagle Flight has six full-time em-ployees, three of whom are research- oriented flight engineers. About half a dozen graduate assistants and twice as many undergraduates also work at the research center, which has a high level of interaction with various university departments.

Eagle Flight also has very close ties to industry. It works on a variety of pro-jects for outside companies, making it possible for students to face practical engineering problems.

Its relationship with the US Fed-eral Aviation Administration (FAA) is strong. From the beginning, Eagle Flight worked to take products it de-veloped for clients through the FAA certification process, which is rare for a university.

Eagle Flight researchers Borja Martos and Scott Martin are cur-rently part of an FAA project to in-troduce an unleaded fuel to replace avgas. The fuel was developed in the 1940s and is the only remaining lead-containing transportation fuel in the US.

The research center has skilled staff and enthusiastic students, at an institution willing to go after these big projects. “From a liability standpoint, most universities have gotten away from flying machines,” says Anderson. “This university specializes in safety protocols and sees developing new aircraft as part of its primary mission.”

Eagle Flight also benefits from operating within an environment of extraordinary enthusiasm. “Peo-ple at Embry-Riddle are just avia-tion nuts,” says Embry-Riddle alum Neil Boyle, president of worldwide completions at Jet Aviation. “They can’t get enough of airplanes. It’s addictive.”

DAVID DEITCH

David Deitch, vice presi-dent of sales in Teterboro, grew up near a National Guard airfield and used to ride his bike over to watch the jets take off and land. He had a neighbor who sometimes came over to play catch during the week. One day, Deitch asked the neighbor why he was home all the time. The neighbor said he was a pilot for Alleghany Airlines, and that he worked two days a week, then had five days off.

“I walked into the house and said ‘Mom, Dad, I have a career path,’” says Deitch. “They said, ‘No, you are going to be an optometrist like your dad.’ We had this argument for the next three years. I won that battle and went to Embry-Riddle.”

In 1978, when he had earned his pilot certificate and was working towards a bachelor’s degree in aeronautical studies, he saw that to get a job at the airlines, he would be competing with a large number of Vietnam veterans who had thou-sands of hours of flying time. Luckily, he had begun selling Hawaiian Tropic sunscreen and almost immediately proved to be the best salesman around. His counselor advised him to run with his gift. He chose a focus on management and market-ing, and his path was set.

BEATRICE ASHE

Beatrice Ashe is Swedish, and when she was sixteen, she was on vacation in Daytona Beach with her family. As a track runner, she needed a place to work out, so she ran on the track at Embry-Riddle. Before she knew it, the main coach had recruited her.

She says that though aviation had not been her focus before she got to the university, it really pulls you in. “You get very inspired,” she says. “All of your friends are pilots. And people say things like, ‘I’m going to be an astro-naut, so I am doing these classes.’”

She got a bachelor’s degree in business admin-istration with a major in management and now works in Basel as the key account director for maintenance clients in Northern Europe. She says having learned the lan-guage of aviation was vital for her professionally. “I also learned how to handle a male-dominated indus-try,” she says, “and was professionally prepared at the first industry events I attended.”

“You know where you’re going. We help you get there.”

Students work with Pat Anderson on the all-electric eSpirit of St. Louis (top left). The eSpirit of St. Louis at EAA Airventure in Oshkosh (right). Rendering of the VerdeGo Aero flying car (bottom left)

26 // Aerospace // Embry-Riddle

NEIL BOYLE

Neil Boyle got his Embry- Riddle degree while serving as a mechanic in the U.S. Air Force. He knew that when he retired from the military he wanted to do something else, so he began working on a Bachelor of Science in aeronautics, with a focus on safety.

He attended Embry- Riddle’s satellite campus. In addition to its two main U.S. campuses, the university has classrooms on many U.S. military installations. Boyle says he usually took a full load of classes, while also working 55 hours a week at the base in Anchorage, Alaska. When he was deployed to South Korea, he was able to walk into a classroom and pick up right where he left off.

He says the degree program opened doors for him. He got the first job he applied for, at Gulfstream in Savannah. He is now a senior vice president and head of global completions for Jet Aviation in Basel.

EMILY HARRISON-ROSS

Emily Harrison-Ross also managed the feat of getting an Embry-Riddle degree while working full time. She is a pilot for Jet Aviation, flying Bombar-dier Global 5000 aircraft for Vista Jet. While at a previous job for a fraction-al ownership company, she earned a Master of Busi-ness Administration from Embry-Riddle, doing all of her coursework online. “I did it during the downtime on the road with my job, instead of turning on the TV in a hotel room, or while waiting for passen-gers in an FBO,” she says. She estimates that she spent about 30 hours a week on it over the course of three years.

She says she wanted to understand more about the business of aviation and expects to be able to use elements of the management degree when promoted to captain. She also wanted a fallback, for a time when her schedule of seventeen days away, then thirteen days at home no longer fit her lifestyle.

DAVY DILANT

Perhaps the most enthusi-astic of this group of Jet Aviation employees is Davy Dilant, who is originally from the Caribbean island of Guadeloupe and who received a bachelor’s degree in aviation mainte-nance science in 2010. “I came from an island,” he says. “Everything looked big. Everything was great.”

He talks about hands-on training with a wide variety of parts and tooling, as well as classes in subjects such as compos-ites and electronics. He was able to not only rebuild engines but also test them afterwards. “You could see that Embry- Riddle wanted to do the best,” he says.

It is good that he had such a great experience, because it was his father, a pilot, who had just gone ahead and signed him up for pilot training at Embry-Riddle, convinced he was doing the best thing for his son. Dilant arrived at the school, discovered the maintenance depart-ment and found what he loved to do. He now works as an engine mechanic for Jet Aviation Basel.

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Student flight training at Embry-Riddle (top). A student at work in the Eagle Flight Research Center (bottom)

28 // Culture // Valletta Outlook 01/2018 // 29

Malta’s position in the Mediterranean, between Europe and North Africa, has given it a wild ride through history. The capital city, Valletta, was built on a small lime-stone peninsula, by the Knights of St. John. It was to be a fortified city, as well as a lavishly Baroque city. Today, with the help of the European Union, as the city celebrates its year as European Capital of Culture, this place of stunning buildings and myriad churches is being renovated, invigorated and propelled into the future.

VallettaEuropean Capital of Culture 2018

To say that Malta has been ex-posed to a variety of cultures is a vast understatement. The is-land has experienced wave after wave of occupation. The Phoe-nicians, Carthaginians, Greeks, Romans, Byzantines, Arabs, Normans, Sicilians, Spanish, Knights of St. John, French and British all took their turn ruling the small islands. Each occu-pier left elements of culture that were amalgamated into the Maltese way of life.

The city of Valletta was built by the Knights of St. John, who had been expelled from their base on Rhodes by Sultan Sulei-man the Magnificent, and then granted the islands of Malta and Gozo in 1530 by Spanish Em-peror Charles V. After the Great Siege of 1565, during which the Order just barely managed to fend off Ottoman invasion at great cost, the monarchs of Eu-rope were grateful and provided financial support for Grand-master Jean de Valette to begin the construction of a new capi-tal city. He chose a limestone ridge that jutted out into a protective natural harbor, and he commissioned Francesco Laparelli, an Italian architect and former assistant to Michel-angelo, to design the city.

Valletta was constructed in the ornate Baroque style that dominated Europe at the time, and it was surrounded by huge bastions. These bastions were often carved into the natural rock of the peninsula.


Valletta covers an area of less than one square kilometer.

Valletta’s Grand Harbor, with a view of the Three Cities (top left). St. John’s Co-Cathedral: the façade (top right) and the interior (bottom right)

The Grandmaster’s Palace (top right). Armor and weapons in the Palace Armoury (left and bottom right)

The city was built over the course of five years, in grand style. Today it still has a unified feel, and walking the nar-row streets is an exploration full of sur-prises. Almost every building is inter-esting, and every few hundred meters is a structure so impressive that in another city, it might be “the” building. Here, it is just one element in a rich tapestry.

Some of the most impressive struc-tures in Valletta were added or ex-panded after the initial construction of the city. St. John’s Co-Cathedral, built between 1573 and 1578, is considered one of Europe’s most impressive exam-ples of Baroque architecture. The Grandmaster’s Palace was begun in 1574 and modified over the course of two centuries. It still houses the Office of the President of Malta. Its State Rooms are open as a museum, but they close on the days the president uses them to welcome visiting dignitaries.

Senglea and Cospicua, across the Grand Harbor. The view is dominated by the two large fortifications, Fort An-gelo and Fort Ricasoli, as well as grand buildings similar to those in Valletta visible further behind them and along small, protected bays.

Despite the elaborate defenses, in 1798, after the Knights had ruled for over 200 years, Napoleon came along and kicked them out. The French ruled for two years, before being pushed out by the British. Malta officially became a British colony in 1814. It then gained its independence in 1964, though it re-mained in the British Commonwealth, with Elizabeth II as its queen and head of state, until it became a republic in 1974. Five years later, Malta expelled the British armed forces that were using the country as a base and declared its neutrality.

The newly independent country had just over 300,000 residents. The total area of its three inhabited islands was 316 square kilometers.

In 2004, Malta joined the European Union, beginning a new era in its his-tory of alliances. This time, the alliance was by choice.

EUROPEAN CAPITAL OF CULTURE

This year, Valletta is the European Cap-ital of Culture, alongside Leeuwarden in the northern Netherlands. The pro-gram was established in 1985, as a push for the European Union to promote Eu-ropean cultures, instead of only focus-ing on politics and economics.

Two cities are chosen each year. Each undertakes a variety of projects, showcasing its own culture as well as

that of other parts of Europe. The cities also work to further develop their cul-tural ecosystem and to transform their infrastructure.

For a given year, the European Union chooses the countries from which the capital of culture will come, and then cities within those countries vie for the position. Valletta mayor Alexiei Dingli put together the city’s bid about eight years ago. He and his col-leagues decided that they should in-clude “greater Valletta,” the same way that past capitals of culture had in-cluded not just a city but also its urban agglomeration. “But then where is the boundary to greater Valletta?” he asks.

Valletta has a population of less than 7,000. The largest city in Malta, Birkirkara, has about 22,000 inhabit-ants – and is divided into four autono-mous parishes. The country as a whole has just under 450,000 residents.

The Palace Armory is also open to the public. As one might imagine given Malta’s history, it has a large and varied collection of weapons.

Fort St. Elmo, built at the tip of the peninsula before the existence of Val-letta, houses the National War Mu-seum. The displays give a visceral feel for just what it meant to be this small group of islands in the Mediterranean Sea, battered by foreign forces. The fort, like many other bastions in Malta, has also served as a set for many mov-ies. These include Midnight Express, Cutthroat Island, 13 Hours, Clash of the Titans, World War Z and Ameri-can Assassin. Parts of Gladiator were filmed at the nearby Fort Ricasoli.

Valletta covers an area of less than one square kilometer, and almost every road runs towards the ocean. There are countless beautiful views, especially over to the Three Cities: Vittoriosa,

LIFESTYLE OF THE ARISTOCRACY

Casa Rocca Piccola is the 16th century palazzo of the de Piro family. The 9th Marquis de Piro lives in the house and has opened parts of it to the public. The house is filled with artifacts giving insight into Maltese life over the centuries and is an interesting way to get a glimpse of the Valletta behind the fine facades.


Efforts to liven things up have been so successful that some-times the problem is now to reign it in.

Pixkerija, Valletta’s former fish market (top left). The opening of Malta’s International Arts Festival (top right) and Pixar Waves at the festival (bottom left). Easter procession in Valletta (bottom right)

The straight streets and many churches of Valletta (top left). Mayor Alexiei Dingli (top right). Is-Suq tal-Belt, the indoor market (bottom left)

Dingli and his colleagues decided the bid should be for the country as a whole to hold the title. The European Union accepted this approach, and this year there are activities in various loca-tions on the islands of Malta and Gozo. The country’s third inhabited island, Comino, is largely a nature reserve and only has three inhabitants.

Valletta does hold the central posi-tion for the year and the activities run under Valletta 2018. Dingli says that ahead of the European Capital of Cul-ture year, a huge amount of investment came into Valletta. In a city made al-most exclusively of old, impressive buildings, costs for renovation and maintenance are enormous. The Euro-pean Union had already been helping with this, and it boosted its support in the years before Valletta 2018.

There has also been private money coming in. “European Capital of Cul-ture gave private investors the courage to put money in,” Dingli says. “They have seen the good results in other capitals of culture.”

The flagship project for Valletta 2018 is the establishment of MUZA, Malta’s new museum of art. It will be housed in the Auberge d’Italy, a 16th century build-ing used as the seat and residence of the Italian knights of the Order of St. John. When it opens later this year, it will be three times the size of the former art mu-seum, and it will be focused on interac-tion with the community.

Other projects include the renova-tion of the traditional indoor market and the creation of a design cluster in what had been an abandoned building in a neglected residential neighborhood.

The government has also been working to bring more life to Valletta in the evenings. Until recently, the city served mostly as the political and ad-ministrative capital of the country and when offices closed for the day, so did bars and restaurants.

Efforts to liven things up have been so successful, says Dingli, that some-times the problem is now to reign it in. A Valletta 2018 focus was to reinvigor-ate Strait Street, which had been both the red-light district when British and

American sailors were in Valletta and also an incubator for artists and musi-cians. Activity on the street died down, but now it is packed with tables and chairs, and DJs are sometimes a little loud for the nearby residents.

Like all cities, Valletta has its prob-lems. For Dingli, the greatest threat is gentrification. He says the price of property has shot up in the past ten years, and the city is becoming unaf-fordable for the locals.

The European Capital of Culture year is intended to motivate cities to take a look at issues such as these and search for sustainable solutions. Many projects are geared towards encourag-ing thought about what is going on in Maltese society as well as an open dis-cussion of how to move into the future.

ART FOR THOUGHT

Dal-Bahar Madwarha, The Island is What the Sea Surrounds, is a Valletta 2018 contemporary art exhibition cu-rated by Maron Richter. Twenty-two

artists and art collectives from Malta and abroad were invited to “envision the sea as a (dis)connecting metaphor and emotional currency, which may or may not re-read existing geopolitical and historical territorialized concepts in the context of the archipelago of Malta and the Mediterranean region.”

Most of the art was exhibited in the former St. Elmo Exam Center in Val-letta, where students used to take their important school exams. Richter de-scribes the art here as dealing with, “the sea as a place of memory and politics, of colonialism, romanticism, of global trade of goods as well as of people; and as a symbol of voyage and displacement.”

In the Pixxkerija, the large struc-ture by the water in Valletta that housed the main fish market for 80 years, Ibrahim Mahama of Ghana has installed A Straight Line through the Carcass of History, joining wooden frames used by Ghanaian fisherman for smoking fish to create a dividing line through the structure. The work highlights the history of the

MALTESE

The official languages of Malta are Maltese and English. Maltese is a Semitic language and the only medieval Arab dialect from Spain and Sicily that has survived. It is also the only standardized Semitic language to be written in Latin script. It has incorporated elements from other languages, especially Italian and English.

RELIGION

Christianity has a long history in Malta. It is said that in about AD 60 the Apostle Paul was in a shipwreck off the Maltese coast and brought Christianity to the country. Today, close to 90% of Maltese are Catholic.

Malta is known for its Easter week celebrations, which include processions throughout the country. In Valletta, the procession on Good Friday is long and intricate, with saints and Romans taking somber steps, and groups of young men carrying floats that show the phases of crucifixion and its aftermath. The men are clearly straining as they carry the extremely heavy floats, often down long sets of stairs. The wooden poles that rest on their shoulders creak ominously.

On Sunday, there is a happier, shorter procession as bands play, the statue of the risen Christ is symbolically carried uphill and spectators cheer.


“We are quite loud – in a good way. We are happy.”

A village festa on Gozo (top left). The Roman cistern under Valletta with Susan Philipz’s sound installation (bottom left). Times of Dilemma: Ghana singer and guitarists (top right) and the large megaphone to project songs across the water (bottom right)

Medieval Festival in Mdina, the former capital of Malta (left). The Malta International Fireworks Festival (right)

JET AVIATION MALTA

This past December, Jet Aviation opened an office for management and charter operations on the Mediter-ranean island, after being issued a Maltese Air Operator Certificate (AOC.) This is the company’s third AOC in the European region, following Jet Aviation’s Swiss and German certificates. It offers aircraft owners and operators increased flexibility in their choice of registra-tions and operation.

The business manages two aircraft. One is a BBJ1 that accom-modates nineteen passengers and has a range of 9,260 kilometers (5,000 nautical miles). The second aircraft is an Embraer Legacy 600, which carries twelve passengers and has a range of 5,550 kilometers (3,000 nautical miles.) Both are based out of Bratislava, Slovakia (see page 56).

flicts. They held workshops to deter-mine the issues concerning Maltese today, then had Maltese writers create texts, which were given to Rachelle De-guara, a young Maltese artist who sings a rap form of Ghana. She put the text into phrases with the traditional sylla-ble structure.

In three performances, singers and guitarists at St. Roche’s Chapel, where a priest would preach across the water to the lepers in the hospital on Manoel Island, exchanged verses via mega-phone with another group on Manoel Island, which is at the moment at the heart of quite some controversy due to new development plans. These songs dealt with the political system, devel-opment in urban areas, life in the com-munity, education and culture.

Contemporary art is less prevalent in Malta than in many European coun-tries. Mayor Dingli says that in Malta,

everyone has an opinion on everything, but there is little true dialogue. This is probably the case in most places. Exhi-bitions and events such as these at Val-letta 2018 aim to open the doors and draw more people into constructive discussions. The hope is that the inter-est will remain long after Valletta’s year as European Capital of Culture.

FESTIVITIES

Not everything about Valetta 2018 is meant to be a deep and serious look at society. The theme is the festa, the tra-ditional Maltese feast day, dedicated to the saint of a village or town. This is a very important day in the community with religious aspects connected to the local church and also a huge cele-bration with marching bands and spe-cial foods.

The annual Malta International Fireworks Festival was part of Valletta 2018 this year. The Maltese love fire-works. The tradition of pyrotechnics goes all the way back to the Knights of St. John. Today, there are 35 fireworks factories on the islands. The fireworks are predominantly handmade, and some families have been making them for generations. The Malta Tourism Authority notes that about 70 towns and villages have fireworks displays during their traditional festas. It also mentions that in between the festas there are sometimes periods of mourn-ing for “pyro-technicians whose life is cut short by unexpected explosion mishaps during the course of the pre-paratory work.”

More than 140 projects and 400 events are part of Valetta 2018, around three main themes: “Island stories,” “Future Baroque” and “Voyages.” These

fish market, the unclear future of the now-empty building and the politics of trade between Africa and Europe.

To experience Who by Fire, a sound installation by Susan Philipsz, visitors go down into one of the five large cisterns built by the Knights of St. John to serve as water reservoirs for Valletta. During the Second World War, residents of Valletta used under-ground spaces as bomb shelters. Philipsz recorded the discordant ring-ing of a naval bell that was damaged during the war and added the almost ghostly vocals of her singing Leonard Cohen’s “Who by Fire,” which is largely a listing of ways that people can die. The work explores loss, long-ing, hope and return.

Barbara Holub and Paul Rjakovics created Times of Dilemma, taking the traditional Maltese singing form of Ghana and using it for addressing con-

events often embrace aspects of Maltese and European culture, history and diversity. There are dance and theater performances, hands-on educational projects, operas, visual arts displays, music performances, author readings, films and much more.

When asked to explain the Future Baroque theme, Valetta 2018 Founda-tion spokeswoman Stephanie Debono says, “I think we are Baroque in our personalities, our character. We’re not quiet. We are quite loud – in a good way. We are happy – a lot of celebrations, festas. And the architecture is Baroque. The cultural program is mainly con-temporary. Therefore, Future Baroque is starting with what we have and tak-ing it further.”

Outlook 01/2018 // 37

Switzerland will soon host its first motor circuit race in over 60 years. The all-electric cars will drive through the heart of Zurich, a city of calm and order, speeding past the lake and passing near the financial district. Formula E has tamed the roar of racing and put itself right in the center of things.

The June event will be the tenth race of the Formula E season, coming after a race in Berlin and before the final back-to-back races in New York. This is the fourth season of the championship founded by the Spanish entrepreneur Alejandro Agag, after the International Automobile Federation (FIA) president Jean Todt brought up the idea at a din-ner in Paris, in 2011.

Agag wants to boost public interest in electric propulsion and speed the development of technology that can be used in electric road cars. The use of quiet electric motors makes it more ac-ceptable to compete in city centers, which gives the championship a unique identity and a certain flair. The positive message the series sends about electric propulsion also helps to win over the governments responsible for permit-ting such events.

Formula E cars are powered by lithium ion batteries. All cars are re-quired to use the same battery, which was developed by Williams Advanced Engineering.

The championship’s rules have been evolving. The first year, all cars were the same. For the following seasons, teams have been able to develop their own power train.

Some teams have chosen to have multiple gears and a gear box, while some have gone with one gear, which means they do not need a gear box, but they do need a larger motor to create enough torque for rapid acceleration. The power trains have become more efficient each year, allowing teams to do more and more with the same battery power.

Ten teams compete in the champi-onship with two drivers each. The Renault e.dams team has won the team championship every year so far. Sébas-tien Buemi, the team’s Swiss driver, has won more races than any other Formula E driver. To get Zurich ex-cited about the upcoming race, the Formula E sent Buemi on a drive in his

38 // Sport // Formula E Outlook 01/2018 // 39

home country, right through the center of Zurich, in his Renault e.dams car.

He was sandwiched between two police cars, obeying traffic laws and po-litely allowing pedestrians to cross in front of him at Zurich’s busy Central in-tersection. He says people looked a little shocked to see him there, and he was thinking, “I’ve driven here before in my normal car. It’s a little strange to be driv-ing in front of the main train station …”

On race day, driving in Zurich will be an entirely different story. “You have to be good at driving between walls,” he says, talking about the skills necessary to master a city course. “You cannot take the same amount of risk. If you brake five meters too late, you hit the wall, and it’s over. On another course, it can be five or even twenty meters, and nothing happens.”

The cars must weigh at least 880 kilograms, including the driver, and they can reach top speeds of 225 kilo-

meters per hour. The battery in the cars is not enough to power the car through the whole race, so drivers switch to a second car in the middle of the race.

Even with this swap, drivers must ration power, and how they do this is a major element of strategy. Buemi says he will do about 1,500 kilometers in a simulator before each race, as he and engineers allot energy for various segments of the racecourse. They plan when to use energy as well as when to regenerate energy through braking. They will experiment until they feel they have found the ideal combination.

The strategy will then be disrupted when the driver has to jockey with the competition. “It’s a bit freestyle at some point,” says Buemi. “When you fight guys, it’s a bit more down to the driver.”

Unlike other FIA motor racing categories, Formula E races take place on one day, because blocking city

streets is a problem. This imposes a fairly grueling schedule on the drivers.

“You are completely drained at the end of the day, because of the stress of going from one session to the other and having to perform well within just a few laps,” says Buemi. “We’re just not used to that.”

For spectators, race days are often more relaxed than at a Formula 1 event. The races are held in central locations, and cities work hard to facilitate public transportation. The event is also much, much quieter.

Some people hate this, feeling that racing should have an aggressive growl. Many like it, especially young people who have not developed the same at-tachment to race noise, and parents wanting to bring kids to the event.

In 2019, for the sixth season, Porsche and Mercedes-Benz will join Formula E. These are powerhouses with extensive resources, and it will change the game.

Formula E will try, however, to keep money from being the deciding factor for success. By keeping most elements of the car standard, the championship keeps costs down. All teams are re-quired to use the same tire in Formula E, for example, whereas a lot of money goes into various tires and the related research in Formula 1. The bodies of Formula E cars are also almost com-pletely standardized. The goal in For-mula E is to concentrate research re-sources as much as possible on those aspects of the car that have the clearest application for electric road cars.

Formula E teams spend twenty to thirty times less than Formula 1 teams. Life is a little different for the elec-tric-car drivers. “In Formula 1, there is an entire team setting up the car for you,” says Buemi. “The engineers will make sure it fits your driving style. Formula E is more about adapting.”

“When you fight guys, it’s a bit more down to the driver.”

Formula E in Hong Kong (top far left). Sébastien Buemi on a casual drive through Zurich (middle far left). Racing past landmarks: the Colosseum in Rome (bottom far left), the Eiffel Tower in Paris (top left) and the Kremlin in Moscow (bottom left). Sébastien Buemi (right) THE SWISS STAR

Sébastien Buemi was born in 1988, in Aigle, Switzerland. He took first place in the Season 2 Formula E driver’s championship and finished second in both the first and third seasons.

His father, who owned a car dealership, gave him a kart when he was five years old. He zipped around the dealership parking lot, graduated to a nearby circuit in France and then continued his upward climb. He was signed by Formula 1 team Scuderia Toro Rosso in 2009 and drove for the team through 2011. Today, in addition to his strong position as a Formula E driver for Renault e.dams, he is a reserve driver for Scuderia Toro Rosso’s sister team, Red Bull Racing, and also drives for Toyota in the FIA World Endurance Championship.

Buemi lived in Monaco for eight years, and is now back in Aigle, so that his wife can be closer to family. His second son was born this past January.

40 // Sport // Formula E Outlook 01/2018 // 41

NEW GROUND

Formula E CEO Alejandro Agag says that racing in the center of cities is the championship’s biggest challenge. Not only is it tough to travel from city to city ahead of the races, taking care of a stag-gering number of details, but it can be difficult to get permission to race in the first place.

Cities are alive and complex, so even this permission can be a compli-cated thing. A race was planned for São Paulo, but then the government sold the land on which the race would have taken place, and the event was can-celled. A race was scheduled in Mon-treal, but then the mayor, who was a big fan, was replaced by a mayor who was not a big fan, and this event was can-celled as well.

Agag has experience running an investment management firm, owning a GP2 motor sports team and handling the Spanish television rights for Formula 1. He has extensive contacts in motor-

sports, business and the media. And yet, he often found it difficult to convince sponsors that Formula E would survive.

“It was really tough at the begin-ning,” says Agag. “Many times we thought we were not going to make it.”

He says many of the sponsors that he brought on board are the same com-panies that sponsored other motor sport championships ten or twenty years ago. “But they have changed,” he says. “The board of directors has adopted a policy to do good things for the environment. It is part of their cor-porate-social responsibility.”

Agag is different today as well. He says his priorities have been changing as he becomes more familiar with what is happening to the planet.

He says that Formula E is having an increasing impact on the discussion of electric propulsion. There had never been as much spoken about electric cars in Rome as in the two weeks sur-

rounding the city’s Formula E race. “It’s creating a lot of debate,” he says. “Even if they criticize, they are talking about electric cars.”

At this year’s Geneva Motor Show, Formula E revealed the new car that will be used for the next three seasons. Agag calls it “very radical looking” and says the company took a risk in choos-ing this design.

The car will have a maximum power of 250kW, with 200kW available to the drivers during races, which is up from the 180kW available this season. The cars can accelerate from 0 to 100 kilom-eters per hour in about 2.9 seconds, and the top speed is expected to be about 280 kilometers per hour.

The new batteries will provide dou-ble the energy of the current packs, though their weight and volume will remain roughly the same. This will allow the drivers to complete the entire race in one car. Formula E plans to

BRINGING BACK RACINGSwitzerland banned motor circuit racing in 1955, after the sport’s worst accident in Le Mans, France, where 84 people were killed and almost 180 injured. The loss of life was caused by large fragments flying into the crowd following a crash.

Racing safety has made large advances since then. Among other measures, simulators calculate possible trajectories for debris, and walls and fences are built for protection. In 2015, Switzerland lifted circuit racing restrictions for all-electric vehicles.

SWISS SPONSOR

At the beginning of this year, Formula E announced that the Swiss engineering group ABB had become title sponsor of the championship. ABB is active in the field of electric propulsion, offering charging solutions for electric cars, electric buses and hybrid buses as well as electrification solutions for ships and railways. It has more than 6,000 fast chargers installed around the world.

define two modes in which drivers can operate – attack mode and energy sav-ing mode – and will limit the time that attack mode may be used.

The championship is making it into the mainstream, with 25 million to 30 million viewers for each race day, and between 10,000 and 40,000 spectators at the events, depending on the amount of space available. Tickets for the Zu-rich race sold out in about 30 minutes.

No other attempt to form a new motor circuit racing championship has had strong success in this decade. Agag sees the success of Formula E as a sign that the electric-propulsion revolution is here.

“Everything is a river going in one direction,” he says. “If you are going in that direction, you are pushed for-ward. We’ve been really lucky that we started at the right time, when things were beginning to turn. And they are accelerating.”

“Many times we thought we were not going to make it.”

THE BOSS

Born in 1970 in Spain, Alejandro Agag grew up in Madrid, Paris and New York. He went into politics at the age of eighteen, while also getting a degree in economics. At 30, he left politics, moved to London and became an entrepreneur. He also married Ana Aznar Botella, the daughter of José María Aznar, the Spanish prime minister at the time. The couple have four sons.

He is still chairman of the investment- management firm he founded, Addax Capital, though it is Formula E that has his intense focus. His favorite part of the job is closing deals. His least favorite part? “Dealing with the day-to-day management of a big company,” he says. “It’s super boring.”

Alejandro Agag (far left). A victorious Buemi in Berlin (middle). Alejandro Agag, FIA president Jean Todt and an ABB robot unveil the second generation car at the Geneva Motor Show (top right). The Zurich Formula E circuit (bottom right)

42 // Gourmet // Teuscher Outlook 01/2018 // 43

As the Teuscher business grew, Dolf Sr. continued to get his choco-late from the same company, and he insisted they use the same recipe. “He always said that when you open this chocolate, it smells like a black rose,” says Dolf Jr.

Today, Teuscher has 24 metric tons of this same chocolate delivered ap-proximately every two months. The Swiss company then concentrates on making over 200 different truffles, pra-lines, chocolate covered nuts, choco-late bunnies, chocolate dogs, chocolate eggs and more. Much of the work is done by hand.

The melted chocolate is stored in large tanks, in a room that smells deli-ciously good. It is then piped to other

Teuscher has a loyal following at its tiny store on New York’s Madison Avenue, as well as in the nearby Rockefeller Center. The Beverly Hills store is popu-lar, business is good in San Francisco and the chocolates have been sold in Tokyo’s Takashimaya department store for over 40 years. There is a shop in Baku, Azerbaijan, because the wife of the president knew Teuscher from Geneva and was eager to have the chocolates closer to home.

The business was founded in 1932 as a bakery, confectionary and restaurant by Dolf Teuscher. To make his confec-tionary, Teuscher bought melted choc-olate from a supplier. “First, they made ten kilos for him,” says his son, Dolf Jr., “then 50, then 100.”

SWISS CHOCOLATE THE FAMILY WAYSome consider Teuscher chocolates to be the best in the world. The company is run by Dolf Teuscher Jr., who took over from Dolf Teuscher Sr. in 1967. Every Teuscher chocolate is made in the company’s production building, just outside the city of Zurich. On Fridays, the chocolates are sent out around the globe.


inside. Then they are covered with more milk chocolate. Every single one of these bunnies, sold in any of the ap-proximately 30 Teuscher stores around the world, was made in this way, by this woman.

Another employee is making small dogs. The molds that she fills sit on a vi-brating table, because the movement prevents bubbles from forming in the chocolate.

In the Teuscher “warehouse” room, Dolf Jr. gleefully points out the small size of the storage area for finished chocolates. There are a few shelving units, and they are lightly filled. Teus-cher does not really store chocolates. The company makes them and then sends them out fresh.

Dolf Jr. takes a pink truffle out of a box. This is a rose truffle. He wanted to create something special for the Abu Dhabi store, where it is not possible to sell the famous Champagne truffles, because of their alcohol content.

He says he spent quite a while look-ing for the right rose-oil supplier. He first looked in Egypt, but found that perfume makers in Egypt were getting the oil from Turkey. In the mountains of

These pots are just slightly larger than those you might use to make spaghetti for a group of friends.

Another worker pushes the rich, soft mixture down a funnel, into a mod-ern machine that places little towers of ganache onto a conveyer belt. Another part of the machine injects the Cham-pagne cream filling into the center of the ganache. The creamy towers are then placed in a refrigerator for a few hours, before being left out overnight, so that they can dry a bit before being covered with chocolate. There is only one of these machines, so the various types of truffles are made in batches. Teuscher will be buying a second ma-chine soon.

It is shortly before Easter, and there are bunnies being made. One woman takes a piece of wax paper and forms it into a funnel. She fills it with dark choc-olate and squeezes it to paint the inside of a bunny mold with dark lines that will provide accents. Then she paints some white lines with white chocolate. Once the lines have dried, milk choco-late, which is pouring out of a nearby spout, is added. After the first milk chocolate layer, hazelnuts are placed

Every single one of these bunnies was made in this way, by this woman.

Chocolate runs out of somewhat magical, Willy Wonka-like fountains.

Making bunnies, just outside of Zurich. The light and dark lines are drawn by hand, then milk chocolate is added. Chocolates displayed at Confiserie Teuscher in Zurich (far right)

areas of the building, where it runs out of somewhat magical, Willy Wonka- like fountains next to workers.

There seems to be a special atmos-phere at the Teuscher production facil-ity. From the outside, it is always hard to understand the dynamics inside a business, but as Dolf Jr. walks through the facilities on a Friday morning, em-ployees smile and great him warmly, in a way that cannot just be for show. They intently go about chocolate-making, with a sense of pride. The environment seems very familial.

There are some machines in use, some of which are quite old. Dolf Jr. points out that back when they were purchased, machines were built to last 100 years, and here they still are. He does plan to buy a few additional ma-chines.

The company’s signature choco-lates are the Champagne truffles. In-side the outer chocolate coating of a truffle is the ganache, a mixture of cream and chocolate. An employee blends fresh Swiss cream with choco-late flowing from one of the magical pipes. Nearby, there are a few pots of ganache ready to be made into truffles.

Turkey, he found his supplier. The oil is distilled, using machines that the men made themselves. It takes four metric tons of rose petals to make one liter of the oil. The liter costs 15,000 US dollars.

Teuscher also makes green-tea truf-fles, which lie nearby, ready to be pack-aged. This flavor was created at the re-quest of the Tokyo shop. The store in Japan no longer buys them, but there is demand at the Chicago, Philadelphia and San Francisco stores.

Packaging is done by hand at Teuscher. For the various Easter bun-nies, several women stand at two long tables, near a big bag of fake green grass. They put this grass, a bunny and some chocolate eggs into a plastic case, which they tape shut by hand.

Dolf Jr. designs the packaging, and he lights up as he talks about it. His first foray into packaging was when he chose the figure to be used on the early Champagne truffle boxes, when he was about seven years old.


Sudanese. He became governor of Sudan and upper Egypt. He married an English princess. And then he was murdered.

Daetwyler’s mother trained as a sculptor in Vienna and then taught art in Zurich. Daetwyler learned art tech-niques from her at a young age.

His mother loved confectionary. When Daetwyler was little, she would always take him to confectionary shops. “I hated to go in,” he says. “They had these big crystal chandeliers.” He really did not like the chandeliers.

His mother often went to Teuscher. He says it was still a small store some-where in the back streets. When Daet-wyler was about ten, he met Dolf Jr.

At sixteen, Daetwyler began an ap-prenticeship in graphics and decora-tion. He went and spoke to Dolf Jr. about how he was displaying the chocolate. “I told him he needed to do something,” explains the designer. “I said, ‘It’s horrible. It’s all brown.’”

This is when he reached for the crepe paper and created colorful, fanci-ful designs for the shop windows. He

MAKING IT LIVELY

Teuscher chocolates can also be pur-chased in highly ornate, decorative boxes. These designs are the realm of Felix Daetwyler, who has been working with Teuscher since 1966. He also makes the decorations for Teuscher stores.

To get to Daetwyler’s office at the production facility, you walk through a room filled with bright crepe paper and colored objects. His office is also wildly colorful, and it is packed with paper flowers, several design works in pro-gress and several photos of him in his younger days, when he sang and put out some albums.

Daetwyler began working with Dolf Jr. when he was sixteen years old. He says he is like part of the Teuscher family.

He also talks about his somewhat extraordinary biological family. His great-great grandfather was a member of the first Federal Council in Switzerland, in 1848. The Federal Council is the sev-en-member executive body that serves as a collective head of Switzerland.

His great grandfather went to Egypt in 1870. He got rich there and helped the Egyptians and the English fight the

goes all out with decorations, espe-cially at Christmas. He says that this past Christmas, at the Felix Café – which is the Teuscher Café in Zurich that was named after him because Teuscher was deemed too difficult for some foreigners to pronounce – the number of selfies taken in front of the shop window was phenomenal. “You just see click, click, click,” he says, imitating the photo-taking. “It’s like Hollywood.”

He says this is the trick. You have to do enough to make people stop and look.

The special chocolate boxes he designs have had various moments of fame. To help kids learn history, some

Harvard professors made educational materials featuring a character based on a colorful parrot-box that he had created. When Andy Warhol died, Teuscher decorations were listed as part of his estate.

The boxes are handmade by women who work from home. These women are given materials, which include pieces of paper that have already been cut into certain shapes. There is an old die cutting machine at the production facility, and a shelf piled with forms for the machine. These forms produce cut-outs such as little feet, hearts, hands and angel wings.

The women work with this paper as well as foam and additional materials,

The animated face of Teuscher in Zurich’s Old Town (top left). Designer Felix Daetwyler (bottom left). Facing page:The Felix Café (top left). Window display at Teuscher in New York’s Rockefeller Center (top and bottom right). Dolf Teuscher (bottom left)

like straw or ribbon. They may be given some yarn, which they cut up to make hair or a sheep’s wooly coat.

There are several rooms at Teuscher where these boxes are then stored. The variety is amazing. There are cats, dogs, camels, bees, cows, lady bugs, brides, grooms, babies in a crib, clowns and cowboys. There is a bunny in a go-cart. A fantasy bird is clad with real feathers in rainbow colors. There are some highly successful boxes, such as the parrot and the lion, that Teuscher has been selling for 40 or 50 years.

One entire room is filled with Christmas-themed boxes. There are also pilgrims and turkeys, witches and ghosts.

You have to do enough to make people stop and look.

48 // Gourmet // Teuscher

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In the early days, every Tuesday was “telephone evening,” when the fran-chises called him and he wrote down their orders. “It was nice for me,” he remembers. “I got to talk to everyone.”

Things have changed a bit. The franchises now order by email, and cus-tomers can order online as well.

Dolf Jr.’s nephew, who was the com-pany’s chief financial officer until re-cently, has taken over the Zurich, Ge-neva and Berlin stores as franchises. These had been the shops owned di-rectly by the Teuscher company. The nephew has also opened a second shop in Geneva and one in Munich, and he has plans to continue expanding.

Some things have not changed. Teuscher still uses fresh Swiss milk, butter and cream, from cows that graze out in green fields. The Champagne in the truffles is Dom Pérignon. The jam that the company sells comes from fruit grown on the farm Dolf Jr. bought near the production facilities in 1975. Milk from the cows on a neighboring farm is used for the hot chocolate at the Felix Café, and the grape-and-fig jam served at the café is made at the Teuscher fam-ily vacation home in Crete.

Dolf Jr. does not have children and he has recently turned 79. When asked whether he has a successor in mind, he is not sure this is a relevant question at the moment. “I hope to do this for an-other twenty years,” he says.

He still drives to Îsle de Ré in France to buy sea salt. “On the way back, I pick up 300 liters of Cognac,” he says, then he laughs. “Either you like doing this kind of thing or you don’t.”

FAMILY TRADITION

When Dolf Sr. started the business, it was in the Töss Valley, east of the city of Zurich. In 1947, he moved his shop into the city, just in time for the hottest sum-mer of the century. No one was buying chocolate, and he was at risk of going out of business. Dolf Jr. says his father then had a dream about Champagne truffles and he went to work on the new truffle the next day.

This truffle paved the way for the company’s success. In 1970, three years after Dolf Jr. had taken over the business, he thought, “Am I going to be in this little office all of my life? I could just go to New York.” He headed there for a short vacation, and while he was there, he talked to a buyer at Bloom-ingdales, who later ordered some chocolate.

This was the beginning of business abroad, and it was one of the few times he took the initiative to create such business. Most Teuscher stores are fran-chises, and they have been established because someone has approached him, asking to sell the chocolate.

He is selective, and more often than not, he turns down the requests. He says that in order for the stores to be successful, the owner has to be in-volved in the daily business. In the most successful stores, the owner is in the shop, meeting customers and under-standing what it is that they want. These chocolates have all-natural in-gredients, and it is important that they are fresh. It is therefore vital to know what customers will buy.

TEUSCHAIR

About 40 years ago, when the company had its first few stores in foreign cities, Dolf Jr. created a Teuschair box with fictitious airline routes between the cities. He filled the box with little chocolate airplanes. You can still buy these Teuschair chocolates today.

Champagne Truffles at the Rockefeller Center store (top left). Teuscher’s assortment of bar chocolate, at the Bangkok store (middle left)

50 // Jet Aviation // Inside News Outlook 01/2018 // 51

JET AVIATION

Jet Aviation acquires Hawker Pacific

CONTACT: Jet Aviation Corporate HeadquartersTel. +41 58 158 4111Fax +41 58 158 [email protected]

Jet Aviation has recently acquired Hawker Pacific, a leading provider of Civil MRO, Fleet and FBO services and Aircraft Sales across Asia Pacific and the Middle East. The acquisi-tion represents a significant strategic step in expanding Jet Aviation’s global footprint and customer offer in these regions.

“We are always looking for ways to better serve our global clientele,” says Rob Smith, president of Jet Aviation. “By success-fully closing the acquisition of Hawker Pacific, we are now in a position to further expand our current port-folio, enter new markets and bring more options and value to our customers

their unique style, vision and requirements for worn or outdated interiors and exteriors, often far exceed-ing customer expectations.

“We are free at the Design Studio in Basel to let our inspiration push boundaries for our custom-ers because we are supported by all of Jet’s workshops and craftsmen who help breathe life into our designs,” said Simon Koenig, director, Interior Design refurbishment. “Innovation backed by trusted craftsmanship is essential for a stunning interior, ensuring that flawless, lasting finish on a beautiful veneer and that perfectly sewn seam that embodies quality.”

In support of its Refurbish-ments / Retrofits, Modifica-tions and Upgrades (RMU) capabilities in Basel, Geneva and Singapore, Jet Aviation launched a new video at the 2018 EBACE convention, taking viewers on a unique voyage as they experience the designer’s quest for inspiration.

“The video provides a visual representation of our inspirational process in developing a customer’s vision,” said Tommi Krell, head of global RMU/MRO Marketing. “We created this video in the studio and on-site, transforming some of our facilities into the most imaginative and unexpected movie sets to demonstrate our compre-hensive refurbishment capabilities and the passion we have for the work we do – from inspiration to execution.”

Jet Aviation’s dedicated and award-winning Design Studio in Basel supports aircraft owners and operators in developing

worldwide. Bringing together these two well- established brands with consistent values reinforces the company’s position as one of the world’s leading business aviation service providers.”

As part of the acquisi-tion, Jet Aviation adds nineteen locations to its global network, including seven FBOs and fourteen MRO facilities throughout Australia, New Zealand, Singapore, Malaysia, Philippines, China and the United Arab Emirates, as well as over 400,000 sq. ft. (37,000 sq. m.) of hangar space. The acquisition also adds 800 employees to the Jet Aviation team of professionals.

Your Refurbishment expert – transforming your aircraft

CONTACT: Jet Aviation BaselTel. +41 58 158 4111Tel. +41 58 158 4848 (AOG)Fax +41 58 158 4115 [email protected]

Jet Aviation GenevaTel. +41 58 158 1811Tel. +41 58 158 4848 (AOG)Fax +41 58 158 1815 [email protected]

Jet Aviation SingaporeTel. +65 6335 7335Tel. +65 9030 9663 (AOG)Fax +65 6481 1480 [email protected]

Top: Hawker Pacific hangar in SingaporeBottom: Hawker Pacific FBO in Shanghai


IS-BAH Registration for all FBOs in the U.S.

Jet Aviation scores top marks in the polls

Investing in FBO network across the worldDavid Paddock, senior

vice president and general manager, Regional Operations USA, said this achievement clearly demonstrates Jet Aviation’s dedication to ensuring that all customers receive the maximum level of

FBOs in the Americas. For the high-traffic metro-politan areas, the company placed first in the Fort Lauderdale/Palm Beach and Boston/Bedford areas, while its FBOs in Houston and New York ranked second and its Nassau location finished third in the Caribbean. In EMEA and Asia, the company’s FBOs in Dubai, Geneva and Zurich all made the Top Rated FBOs list, with Zurich further ranking as one of the Most Improved FBOs worldwide over the past twelve months.

Also noteworthy, the company’s FBO in Geneva “rocketed up the rankings”

300 sq. m. (3,200 sq. ft.) extension for drying rooms, a new soft goods area and Wood Shop.

Across the Pacific, demolition of Jet Aviation’s existing facilities in Van Nuys is currently under way, while first steps toward building an entirely new Jet Aviation FBO and hangar facility have been taken. To ensure continued seamless customer service, temporary workspace has been arranged until the new 62,250 sq. ft. (5,700 sq. m.) Van Nuys operation is completed early next year. Jet Aviation’s new premises will feature a 10,000 sq. ft. (930 sq. m.) FBO and a 42,250 sq. ft. (3,900 sq. m.) hangar, including 10,000 sq. ft. (930 sq. m.) for offices. The entire premise will further accommodate a 60,000 sq. ft. (5,500 sq. m.) hangar with offices and shops for sister company Gulfstream Aerospace Corporation.

In addition to the above facilities, the project includes a fuel farm that will soon go operational with two tanks each holding 30,000 gallons (113,560 liters). The fuel farm will operate four 30,000 gallons (113,560 liters) tanks and one 12,000 gallons (45,425 liters) tank once completed in early 2019.

Jet Aviation’s eight FBOs in the US have now qualified for Stage 1 registration to the Inter-national Standard for Business Aircraft Handling (IS-BAH™), joining the company’s thirteen FBOs in EMEA and Asia.

Jet Aviation strives to deliver maximum comfort and safety to its customers, wherever they travel, and recent industry surveys show a number of the company’s FBOs ranked top in their categories.

In Professional Pilot’s annual 2018 PRASE Survey, Jet Aviation finished second in three different categories, including Best Middle East and African, Best Carib-bean and Best Small U.S. FBO chain, demonstrating consistent improvement the last five years.

Results from the 2018 AIN FBO Survey ranked Jet Aviation’s Palm Beach facility #2 in the top-rated

Jet Aviation’s new state-of-the-art FBO facility at Dubai South got off to a great start when the company, together with its joint venture partner, the Al Mulla Business Group, welcomed approximately 120 distin-guished guests to a grand opening celebration held during the Dubai Airshow late last year. The upscale 600 sq. m. (6,500 sq. ft.) FBO in the shared VIP terminal provides a second FBO facility for customers to choose from in Dubai, ensuring greater capacity and flexibility for customers.

In Singapore, Jet Aviation hosted an opening ceremony for its new tenant hangar at ABACE 2018, bringing much needed aircraft service capacity to the region. The 3,850 sq. m. (41,000 sq. ft.) hangar began operation last December and can accom-modate up to two BBJs or Airbus ACJs or five Gulf-stream G550 aircraft. It also features a larger, upgraded Interior Shop, including a

safe and secure ground- handling services at each of its FBOs.

“Ever since the IS-BAH program was launched, our FBO teams across the US have been working to ensure that all of our processes meet IS-BAH

standards,” Paddock said. “Completing Stage 1 certifications in the U.S. demonstrates Jet Aviation’s commitment to serving our customers – no matter where they are.”

to second place in the annual FBO Survey published by European Business Air News (EBAN) in February, up from 23rd just last year.

CONTACT: John Langevin VP FBO Operations North America Tel. +1 201 462 4004 [email protected]

CONTACT: Jet Aviation Corporate HeadquartersTel. +41 58 158 4111Fax +41 58 158 [email protected]

CONTACT: Jet Aviation DubaiTel. +971 4 804 8000Fax +971 4 887 [email protected]

Jet Aviation SingaporeTel. +65 6481 7335Fax +65 6481 [email protected]

Jet Aviation Van NuysTel. +1 818 722 5100Fax +1 818 722 [email protected]

Jet Aviation’s Teterboro FBO

Top: Van Nuys FBO facilityMiddle: Singapore opening ceremonyBottom: Dubai South opening ceremony


EASA STCs for Ka-band connectivity and more!

Jet Aviation awarded BEST MRO in Asia and more

model in the 747 series, including a new antenna location.

In parallel to Ka-band system STC development, the company is working on Satcom SBB and Live TV systems installations. It recently demonstrated compliance with the latest EASA bird strike require-ment on the Rockwell Collins Live TV Radome.

With the necessary software, tools and trained engineers on-site, the complete design work and compliance demonstration for the STCs is done

FBO facility in Singapore. “We are pleased to further improve our capabilities to extend warranty support to BBJ owners and operators in the region. These new approvals demonstrate our steadfast commitment to our customers to uphold the highest business aviation standards.”

In Hong Kong, Jet Aviation recently received approval from the Federal Aviation Administration (FAA) authorizing its MRO facility to extend its existing FAA approval to further support 48- and 36-month inspections on N-registered Dassault Falcon 7X/8X and Falcon 900 series aircraft, respectively.

internally by the Basel engineering team. Contact us today if you are inter-ested in having Jet Aviation develop a custom STC specific to your aircraft type and location!

Jet Aviation is investing in connectivity solutions to ensure its customers can enjoy the fastest internet access available in the market for commer-cial aircraft and private jets. The company’s engineering team in Basel has recently received EASA Supplemental Type Certification (STC) for Ka-band system integra-tion on a Boeing 747-400 and is currently developing a second EASA STC for a Boeing 767-300 aircraft. It also plans to revise its 747-400 STC for another

At the gala 2017 awards ceremony hosted by the Asian Business Aviation Association (AsBAA) in Hong Kong this past November, Jet Aviation was named the Best MRO (Singapore / Hong Kong) in Asia.

AsBAA is a non-profit association established to enhance business aviation access, safety and regulation, while promoting public awareness and contribution to the econ-omy. The AsBAA Icons of Aviation (IOA) awards recognize the best within the industry and acknowledge their vital support of the business aviation market in Asia.

A month after the awards ceremony, Jet Aviation’s maintenance center in Singapore was designated a Boeing Business Jet (BBJ) Author-ized Warranty Repair Facility and BBJ Factory Authorized Service Center (ASC), joining the compa-ny’s previously appointed BBJ ASCs in Basel, Dubai and Geneva. The facility has also recently been approved as an Upholsterer of Rockwell Collins (formerly B/E Areospace) 16G seating.

“Jet Aviation has been supporting Boeing Business Jets for many years and has a long and trusted relation-ship with the aircraft manufacturer,” says John Riggir, vice president and general manager of Jet Aviation’s MRO and

CONTACT: Jet Aviation Basel MRO & CompletionsTel. +41 58 158 4111Tel. +41 58 158 4848 (AOG)Fax +41 58 158 4115 [email protected]

JetWaveTM installation on Global 6000 in Geneva

In Geneva, Jet Aviation’s maintenance facility recently installed its first Honeywell JetWaveTM satellite communications hardware system in a Global 6000. The JetWave satellite terminals operate on Inmarsat Aviation’s GX Ka-band network, provid-ing fast and reliable wi-fi capability – and significant benefits in terms of in-flight productivity and entertainment.

Aircraft Manager Guillaume Blache was delighted with the results, noting that the installation was to be completed in 21 days, but that Jet Aviation delivered its first instal-lation ahead of schedule. “The aircraft’s first flight following the installation

was to the U.S., during which the owner and crew enjoyed full connectivity and all of its benefits,” said Blache.

The Jet MRO facility in Geneva offers full heavy maintenance services for Bombardier Global Express series, Gulfstream aircraft and Boeing BBJ. Last year, the facility conducted its first Honeywell DU-875 ELITE cockpit display upgrade on a large-cabin, ultra-long-range Global Express XRS.

CONTACT: Jet Aviation GenevaTel. +41 58 158 1111Tel. +41 58 158 4848 (AOG Hotline 24/7)Fax +41 58 158 [email protected]

CONTACT: Jet Aviation Hong KongTel. +852 2215 0995Tel. +800 5387 8277 (AOG)Fax +852 2215 3733 [email protected]

Jet Aviation SingaporeTel. +65 6481 7335Tel. +65 9030 9663 (AOG)Fax +65 6481 [email protected]

Top, bottom left: Singapore hangarsBottom right: AsBAA’s Icons of Aviation Asia Award for Best MRO (Singapore / Hong Kong)


Air Operator’s Certificate (AOC) for Malta

The long-range, VIP-configured Boeing 737 is based in Europe, accom-modates nineteen passen-gers and features a master bedroom with bathroom, two separate. With a range of twelve hours, the BBJ1 is ideal for trips to Bahamas, Beijing, Mauritius or New York, among others.

Cabin amenities include airshow, wireless Internet, satellite communications and an entertainment system with five monitors, two iPod- docking stations, USB connectors and a DVD player.

Based in Bratislava, Slovakia, the Embraer Legacy 600 has a seven- hour range and seats up to thirteen passengers. The cabin features a sofa in the back that can be converted into a bed; amenities include airshow, DVD player and satcom telephone. The galley is comfortably equipped with a microwave, oven and coffee maker.

Jet Aviation has secured its air operator’s certificate (AOC) for Malta, and is now operating a Boeing BBJ 737-700 and a Legacy 600 from its new flight opera-tion in EMEA and Asia. The Malta location joins the company’s other regional AOC operations in Zurich and Cologne.

CONTACT: Jet Aviation Business JetsAircraft Management & CharterEMEA and AsiaTel. +41 58 158 8787Fax +41 58 158 8685 [email protected]@jetaviation.ch

Flight Services expands U.S. managed fleet

Jet Aviation Flight Services keeps expanding its managed aircraft fleet across the U.S., adding nine more business jets this year. That brings the total to more than 160 aircraft in the U.S. managed under a choice of programs that meet individual owners’ needs depending on the specific aircraft, where and how often they fly, and options for add-on services.

In the first quarter of the year, Flight Services added two Global 5000s and two G650s; two Challenger 350s; two Falcon 7Xs; and a Falcon 2000EX.

The needs of Part 91 flight departments are specifically addressed by Flight Services programs such as Aircraft Scheduling,

Maintenance Management, Flight Standards and Fuel Desk.

The managed fleet includes more than 50 air-craft in the charter fleet under Part 135, including those from the acquisition of Avjet in Burbank, CA, in 2016.

CONTACT: Jet Aviation BaselTel. +41 58 158 4111Tel. +41 58 158 4848 (AOG)Fax +41 58 158 4115 [email protected]

simultaneously, including the larger aircraft now being sold.

As next generation aircraft such as the BBJ Max and Airbus Neo increas-ingly appear in the market, design and engineering teams are being tasked to come up with solutions that can make the most of the technological advancements that these new airframes offer.

“Designing for a next generation aircraft is an exciting challenge,” says Elisabeth Harvey, director design, Jet Aviation Completions. “Our clients are requiring increasingly sophisticated concepts that maximize comfort and push the possibilities of what is possible in the air, and it is our job to fulfill those wishes.”

The BBJ Max and Airbus Neos offer longer ranges than legacy airframes, and designers need to adapt their ideas to suit cus-

tomers’ extended time in the air. “We focus on providing the highest luxury comfort and design flexibility, ideally suited to these longer ranges,” states Harvey. “Features which focus on well-being in the air, such as massage tables and gym equipment, are becoming more prevalent

as our clients take their on ground lifestyle to the air.”

In short, it is a new way of travel, made possible by both the technical advancements of the new generation airframes and the ambitious design and engineering concepts that aim to maximize these benefits for customers.

The new wide-body hangar being built at Jet Aviation’s Completions and MRO facility in Basel is on track and scheduled to go operational at the end of the year. To acknowledge the hard work invested to date, the company recently invited over 100 Jet employees, suppliers and workers involved in the project to attend a Pose du Sapin at the facility. The traditional regional ceremony involves placing a fir tree atop the wooden superstructure to bring luck to the future building.

Suitable for wide- body projects up to Boeing 747, the new 8,700 sq. m. (94,000 sq. ft.) state-of-the-art hangar is being built to meet increased demand for wide-body completions and refurbishments. It will provide an additional 4,550 sq. m. (49,000 sq. ft.) of hangar space to accommo-date a number of wide- and narrow-body aircraft

Welcome to the next generation

CONTACT: Jet Aviation Flight ServicesAircraft Management & CharterThe AmericasTel. +1 877 357 0182Fax +1 201 462 [email protected]

Top left: Legacy 600Bottom right: BBJ1

Bedroom rendering designed by Jet Aviation for an Airbus Neo

58 // Masthead and advertisers

One Goal: Exceeding Your Expectations

Our mission is to take care of your every need, no matter where or when you may be traveling.

The professional FBO staff at Jet Aviation makes it a priority to accommodate the wishes of both

passengers and crew, focusing on convenience, safety and with the greatest attention to detail.

USA & Caribbean – Boston/Bedford l Dallas l Houston l Los Angeles/Van Nuys l Nassau l Palm Beach l St. Louis l San Juan l Teterboro l Washington/Dulles EMEA & Asia – Berlin Schonefeld/Tegel l Dubai DXB/DWC l Dusseldorf l Geneva l Jeddah l Medina l Munich l Riyadh l Singapore l Vienna l Zurich


www.jetaviation.com/fbo

Outlook Magazine 01/2018

Publisher:Heinz R. Aebi I Elouisa Dalli

Project management:Aude Gratsias I Yasmine Huber

Author:Stephanie Schwartz

Authors Jet Aviation Inside:Mary-Lou Murphy Charles Bosworth, Lauren Steventon

Photography:Patek PhilippeFondation Beyeler I Mathias Mangold, Mark Nieder-mann, Peter Schibli, Niggi Braeuning, Serge Hasenböhler, Robert Bayer, Kurt Wyss, The Estate of Francis Bacon, Succession Alberto Giacometti 2018, ProLitteris, Zurich, Robert, Bayer, Graham Keen, Matthias Willi, J. Isler, Atelier Peter Zumthor & Partner, Successió Miró Calder Foundation, New York Art Resource, NY 2017, ProLitteris, Zurich Embry-Riddle University I David Massey, Daryl R. LaBello, Charles M. Schulz, Mario Merino, Marie CarabinValletta I Nicholas Courtney, Viewingmalta.com, Valletta 2018 I Jan Zammit, Michael Calleja, Jason Borg, Matthew Mirabelli, Zarb Adami, Francesca Vella Formula E I LAT / Formula E, Swiss E-Prix Operations AG, Steven Tee, Sam Bloxham, Cornelis Gollhardt Teuscher I Teuscher Chocolates of Switzerland, www.alamy.de, Jan Isachsen, Ira Berger, Ian Dagnall, Patti McConville, travelstock44, www.gettyimages.co.uk, Gail Mooney / Corbis / VCG, Gilbert Carrasquillo, Michele Limina/Bloomberg, www.shutterstock.com, Tupungato, FS11, www.studiotorres.com, www.theguardian.com, Robert Ormerod, www.daphnechaimovitz.ch, Daphne Chaimovitz, www.nyctalon.com, 2018 The NYC Talon

Concept and design:Publicis Communications Schweiz AG LSAZurich I Switzerland

Printed by:Elanders GmbH & Co. KGWaiblingen I Germany

Contact:Jet Aviation Management AGP.O. Box 229CH-8058 Zurich Airport I SwitzerlandTel. +41 58 158 8888 I Fax +41 58 158 [email protected]

Print run:20,000 copies

Orders:[email protected]

Copyright:Outlook is published semi-annually. The contents may be reproduced with credit to Outlook, the magazine of Jet Aviation

Advertising inquiries:For all advertising inquiries please call +41 58 158 8861 or e-mail [email protected]

© Copyright 2018 Jet Aviation. All rights reserved.

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 jets. Gulfstream has produced more than 2,400 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 G280™, the Gulfstream G450™, the Gulfstream G550™, the Gulfstream G500™, the Gulfstream G600™, the Gulfstream G650™ and the Gulfstream G650ER™. Gulfstream also offers aircraft ownership services via Gulfstream Pre-Owned Aircraft Sales™. Visit our website for more information at www.gulfstream.com.

*Theoretical range with eight passengers, four crew and NBAA IFR fuel reserves. Actual performance will be affected by ATC routing, operating speed, weather, outfitting options and other factors.

For your personal consultation, visit gulfstream.com/contacts.

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Range. Speed. Comfort. The G650ER™ is truly in a class all its own. Our proud commitment

to service takes you with confidence from Zurich to Los Angeles* and everywhere else

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AN UNPARALLELED EXPERIENCE

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