Views

ExprEssion of a LifEstyLE
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Breguet, the innovator.
Invention of the gong-spring, 1783
With the Classique “Grande Complication” 7637BB minute repeater
wristwatch, hand-crafted in harmony with the finest traditions, Breguet
reinvents the supreme horological complication. This stunning model
features an entirely redesigned movement, patented innovations and a
new position for the gong-spring. The spring-blade invented by
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www.breguet.com/inventions
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CONCEPT
PUBLISHER &
EDITOR IN CHIEF
ARTWORK &
PRODUCTIONING
EDITING
TRANSLATIONS
CONTRIBUTORS
Jürgen H. Pfannkuch
Jürgen H. Pfannkuch
Christina Saam
Jörn Pfannkuch
Nigel Robinson
Gigi O. Kracht
Stefan Gabányi
Hans Nützi
Dr. Thomas Steinemann
Dr. Christian A. Camenzind
Dr. Stephan A. Zwahlen
Doug Nye
PHOTOGRAPHERS
Jeremy Mason McGraw | Hotel
Marcus Bleasdale/VII Photo | Kongo
Jürgen Pfannkuch | Cambodia
Roman Kuhn | Ferrari
Gautam Singh/AP | India, Holi
K.K. Arora/Reuters | India, Holi
PHOTO CREDITS
Museum Rietberg, Zurich
Kunsthaus, Zurich
Tonhalle, Zurich
Opernhaus, Zurich
Schauspielhaus, Zurich
Verein Opéra, Zurich
McLaren, Woking/UK
GRATEFUL ACKNOWLEDGEMENT
Gigi O. Kracht «Sunshine»
Lukas Hüni AG
Michael Köckritz | ramp magazine
LITHOGRAPHy
COPyRIGHT
®
The Baur au Lac Magazine
Edition 2011
MXM Digital Service
Munich | Germany
HOTEL PUBLIC RELATIONS
HHHHHINTERNATIONAL
All rights reserved 2011
Verehrter Gast,
editorial
Nahezu alle Zimmer und Suiten des Baur au Lac sind von Grund auf neu gestaltet worden.
Wir denken, die enge Zusammenarbeit zwischen unserem Dekorateur, dem Management und
der Besitzerfamilie hat sich ausgezahlt, wir konnten eine einzigartige Atmosphäre schaffen. Ob
Einzelzimmer oder Deluxe Suite, kein Zimmer gleicht dem anderen und sie alle verbreiten eine
zurückhaltend elegante Aura. Auf den Seiten 30 bis 39 der vorliegenden Ausgabe zeigen wir
Ihnen das Ergebnis in einer opulenten Bildstrecke.
Danach zieht es unsere VIEWS wieder hinaus in die Welt. Wir stellen Ihnen die neuesten Mitglieder
der Leading Hotels of the World rund um den Globus vor, während Sunshine’s Nook wieder die
New Yorker Kunstszene im Visier hat und auf der Art Basel Miami traf sie neue, vielversprechende
Künstler. Herausragende Fotoreporter haben ein einzigartiges Symphonieorchester in der Republik
Kongo ins Bild gesetzt und auf dem indischen Subkontinent geriet unser «Mann für Asien» in einen
Farbrausch, bevor er sich auf dem Tempelberg von Preah Vihear im kambodschanisch-thailändischen
Grenzgebiet einer ganz anderen Herausforderung gegenübersah.
Auf den letzten Seiten der diesjährigen Ausgabe versuchen wir dann noch, zwei wichtige Fragen
zu klären: Wie vermehrt man sein Geld und welches sind die schönsten Verführungen, etwas
davon auszugeben.
Wir wünschen Ihnen Zeit und Musse für die Lektüre.
Die Direktion
Dear Guest,
Practically every room and suite at the Baur au Lac has been redesigned from the ground up. We feel
that close cooperation between our interior designer, the management and the family who owns the
hotel has worked well, creating a unique, unrivaled atmosphere. No two rooms or suites in any category
are alike; yet all share the same palpable aura of dignity and understated elegance. The lavish images
on pages 30 to 39 of this issue will give you a taste of what we mean.
After that, VIEWS once again gets out and about in the big, wide world. Join us on a whirlwind tour of
the globe, meeting the newest members of the Leading Hotels of the World en route, before hopping off
in New York, where Sunshine’s Nook again profiles the Big Apple’s art scene and presents up-and-coming
artists encountered at Art Basel Miami. An outstanding photographic reporter puts a unique symphony
orchestra in the picture for us in the Republic of Congo, while our «Asian correspondent» gets caught up in
more than just a purple haze on the dazzlingly colorful Indian subcontinent. By contrast, the temple mount
of Preah Vihear in the Cambodian-Thai border region poses challenges of a completely different nature.
Toward the end of this year’s edition, we apply ourselves to two questions of paramount importance:
How do you multiply your money? And what are the most beautiful ways to spend it?
We wish you the time and leisure to enjoy your read.
The management
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4 | views magazine

Ghost
The power of simplicity
Ghost is the essence of Rolls-Royce in its simplest, purest
form. Discreet technology and a new V12 engine make
for effortless, rewarding driving; while the uncluttered
interior cossets every occupant. Simplicity may be hard
to achieve, but it’s always worth the effort.
Rolls-Royce Motor Cars Zürich, Stinson-Strasse 2, 8152 Glattbrugg/Zürich
Tel: +41 (0)43 211 4441
www.rolls-roycemotorcars-zurich.ch
© Copyright Rolls-Royce Motor Cars Limited 2010. The Rolls-Royce name and logo are registered trademarks.
views magazine | 5

6 | views magazine
TAGLIO ESCLUSIVO
The ultimate in personal tailoring

ZÜRICH Bahnhofstrasse 25 Tel 043.3447090
zegna.com
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8 | views magazine
www.blancpain.com
Blancpain Boutique BaHnHoFStRaSSe 28 · paRaDeplatZ · 8001 ZÜRicH · tel. +41 (0)44 220 11 80

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(réf. 6639-3431-55B)
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contents
12 ZURICH AGENDA
Kunst und Kultur in der Bankenmetropole
Art and culture in the Swiss banking hub
22 ExPRESSION OF A LIFESTyLE
Impressionen aus dem BAUR AU LAC
Impressions of the Baur au Lac
48 BUTTER, BACON AND WHITE TRUFFLES
Piemont – Synonym für Weltklasse-Weine
Piedmont – A byword for world-class wines
52 SUNSHINE'S NOOK
Arty facts and people in profile
66 BLACK POWER AND THE MUSIC
OF DEAD WHITE MEN
Die Macht der Musik in der Hölle von Kinshasa
The power of music in the hell that is Kinshasa
73 THE ESSENTIAL BAR
Of speakeasies, contemplative drinking
and proper proportion
79 BOOKMARK
Jubiläen dreier Stil-Ikonen
Three style icons celebrate their anniversaries in print
82 BENCHMARK
The first «pure McLaren»
88 OLD HANDS & NEW FACES
News from «The Leading Hotels of the World»
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96 COLORS OF INDIA
Orgiastische Farbenschlacht am Holi-Festival
The days of Holi – a dazzling orgy of colors
104 CONTEMPLATION AND KALASHNIKOVS
Preah Vihear – Der bestbewachte Tempel der Welt
im Dschungel von Kambodscha
Preah Vihear – Discovering the best-guarded temple in
the world in a remote corner of the Cambodian jungle
113 SWISS PRIVATE BANKING
Analysen, Perspektiven und Strategien Zürcher Privatbanken
Analyses, strategies and outlooks from Zurich's private banks
122 RAMP MAGAZINE'S ALL THROUGH THE NIGHT
The Ferrari 250 LM
139 SHOPPING VIEWS
How best to spend your money on the Bahnhofstrasse

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«A wild, wondrously
beAutiful plAce of Art»
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dAzzling visions And
A yeArning for
the Absolute
Zwei der wichtigsten Zentren
der Malerei Indiens zwischen
1575 und 1850 vereint die private
Sammlung von Konrad und
Eva Seitz: die Künstler an den
Höfen der Mogul-Herrscher
und an den bis anhin weniger
beachteten Ateliers im südlich
gelegenen Dekkan-Gebiet. Zuvor
gibt es kostbare Elfenbeinschätze
aus Ceylon zu sehen. Im Sommer
geht es noch einmal um die
indische Malerei, Abd al-Samad,
Farrukh Beg und Nainsukh, der
Meister der Elefanten, geniessen auf dem
Subkontinent ein ähnliches Ansehen wie
Dürer oder Rembrandt bei uns. Zum Ende
des Jahres wird es mystisch: Nicht so sehr
Kunst, Stil und Ikonographie stehen im
Vordergrund der Ausstellung «Mystik»,
sondern das spirituelle Erlebnis.
The private collection owned by Konrad
and Eva Seitz combines works from two of
the most important centers for the production
of Indian paintings from 1575 through
1850: the royal courts of the Mughal rulers
and the ateliers in the more southerly Deccan
region, an area that has hitherto received far
less attention. This exhibition is preceded by a
showing of precious ivories from Ceylon, before
the summer sees a return to the theme of
Indian paintings. On the subcontinent, Abd
al-Samad, Farrukh Beg and Nainsukh (the
«master of the elephants») enjoy the kind of
reputation a Dürer or Rembrandt commands
in our climes. A mystical twist follows at yearend:
The «Mysticism» exhibition concerns
itself less with art, style and iconography and
more with spiritual experience.
Das Kunsthaus Zürich hebt einen verborgenen Schatz: Das Beuys-Konvolut aus dem
Palazzo Durini in den Abruzzen. Danach geht es zurück in die Heimat: Verbunden mit einer
Retrospektive seines Schaffens wird der schweizerische Künstler Franz Gertsch mit seinem
brandneuen monumentalen Jahreszeiten-Zyklus vorgestellt. Aus der geheimnisumwitterten
Sammlung der Familie Nahmad – die wohl grösste ihrer Art weltweit – werden erstmals mehr
als hundert Meisterwerke von Monet bis Miro ins Licht einer Ausstellung gesetzt.
Kunsthaus Zürich is poised to unearth a buried treasure: the Beuys collection from the
Palazzo Durini in Abruzzi. The art museum then moves closer to home, linking a retrospective of
Franz Gertsch’s work with a presentation of the Swiss artist’s monumental new «Four Seasons
Cycle». Later, over a hundred masterpieces from Monet to Miró, all contributed by the almost
mythical Nahmad Collection – possibly the largest of its kind anywhere in the world – will be
shown for the first time.

GENEVA Montres Prestige, Grand Hotel Kempinski, Quai du Mont Blanc 19, Tel. 022 - 731 83 87
GSTAAD Jean H Weber, Promenade Tel. 033 - 744 96 30
INTERLAKEN Kirchhofer Haute Horlogerie, Höheweg 46, Tel. 033 - 828 88 93
LUZERN Embassy, Schweizerhofsquai 2, Tel. 041 - 410 53 61
ST MORITZ Embassy, Palace Arcade, Tel. 081 - 833 35 31
ZURICH Les Ambassadeurs, Bahnhofstrasse 64, Tel. 044 - 227 17 17
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HW_AVENUE_240x315_VIEWS - HOTEL BAUER.indd 1 30.11.10 10:16
Harry Winston Avenue Squared ™, ©2010 Harry Winston, Inc. www.harrywinston.com

views agenda
moses And AAron,
un bAllo in mAscherA
And pArsifAl
Das Opernhaus Zürich zählt zu den renommierten
Musiktheatern. Jährlich werden hier
300 Opern-, Ballett- und Konzertaufführungen
auf höchstem künstlerischen Niveau geboten.
Berühmte Dirigenten wie Daniele Gatti, Nello
Santi und William Christie sind hier ebenso
regelmässig zu Gast wie die grossen Stars
der internationalen Bühnen. So treten Cecilia
Bartoli, Vesselina Kasarova, José Cura, Thomas
Hampson oder Leo Nucci regelmässig im
Opernhaus Zürich auf. Zu den Höhepunkten
der kommenden Spielzeit zählen sicherlich
Parsifal, Un ballo in Maschera, Falstaff und Tannhäuser.
Arnold Schönbergs Moses und Aron
oder Leos Janaceks Aus einem Totenhaus sind
die Tipps der Experten.
if music be the food of love –
seventh clAssic night
Im siebten Jahr schon lädt der Verein Opera Intendanten, Direktoren und Deans der
renommiertesten Opernhäuser sowie ein handverlesenes Publikum zur alljährlichen Classic
Night. Die besten Nachwuchssänger der internationalen Musikhochschulen und der
Opernhäuser in New York, Mailand, Paris oder London präsentieren sich auf der Bühne und
knüpfen Kontakte. Im vergangenen Jahr begeisterte die Israelin Hila Fahima. Noch auf der
Veranstaltung lud man sie zum europäischen Nachwuchswettbewerb ein, den sie prompt
als Siegerin verliess. Zur Zeit gastiert Hila Fahima an der Oper Berlin bei Daniel Barenboim.
Auch der Pole Adam Palka wurde vom Fleck weg engagiert und gehört nun zum festen
Ensemble der Deutschen Oper am Rhein in Düsseldorf.
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The Zurich Opera House is one of the most highly regarded music theaters. Every year, 300
operas, ballets and concerts are staged here, all to the very highest artistic standards. Famous
conductors of the caliber of Daniele Gatti, Nello Santi and William Christie put in frequent guest appearances
here, as do the megastars of the international stage. Cecilia Bartoli, Vesselina Kasarova,
José Cura, Thomas Hampson and Leo Nucci, for example, are more or less regulars at the Zurich
Opera House. Parsifal, Un Ballo in Maschera, Falstaff and Tannhäuser will doubtless rank among the
highlights of the coming season, while Arnold Schönberg's Moses and Aaron and Leos Janacek's
From the House of the Dead are hot tips from the experts.
2011 is the seventh year in which Verein
Opéra has invited directors, deans and artistic
directors from the foremost opera houses
to attend the annual Classic Night in the
company of a hand-picked audience. The best
young singers from international music academies
and opera houses in New York, Milan,
Paris and London thus get the chance to show
off their talents and make valuable contacts.
Last year, Israeli singer Hila Fahima drew rave
reviews. That very night, she was invited to attend
a European young singers' contest, which
she went on to win; and now she is giving
guest performances under Daniel Barenboim
at the Berlin Opera House. Poland's Adam
Palka too was recruited without further ado
and is now a regular member of the Deutsche
Oper am Rhein ensemble in Düsseldorf.

POESIE – FEUER
BUCHERER VERBINDET
UHREN SCHMUCK JUWELEN
BASEL BERN DAVOS GENÈVE INTERLAKEN LAUSANNE LOCARNO LUGANO LUZERN ST.GALLEN ST.MORITZ
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ZERMATT ZÜRICH | BERLIN DÜSSELDORF FRANKFURT HAMBURG MÜNCHEN NÜRNBERG | WIEN | BUCHERER.COM

views agenda
industry And idleness
At schAuspielhAus zürich
In ihrer Choreographie «Continu», (Uraufführung
Sommer 2010) verdichtet Sasha Waltz das Ergebnis ihrer
beiden grossen Museumsprojekte aus 2009 zu einem
abendfüllenden Stück. «Industry and Idleness» («Fleiss
und Faulheit»). Gegensätze wie dieser prägen
das Werk von Heiner Goebbels. Die Schiffbauhalle als
Monument der Zürcher Industriegeschichte ist dafür
die ideale Projektionsfläche. Das neue Stück von Lukas
Bärfuss spielt mit dem Thema Erinnerung und will noch
gar nicht alles von sich wissen. Der Autor formuliert deshalb
statt einer Inhaltsangabe eine Idee, die ihn bei der
Arbeit begleitet: «Den Menschen im Kleinstaat könnte
man sich auf eine gewisse Weise als den aus der Not
geborenen vollkommenen Opportunisten vorstellen...»
Die Intendantin Barbara Frey inszeniert William Shakespeare:
Was Ihr Wollt. Am Anfang steht ein Schiffbruch,
am Ende der Ehehafen. Und dazwischen nimmt eine
fulminante Verwechslungskomödie ihren Lauf, deren
Protagonisten leider wenig zu lachen haben.
unfinished romAntic business
Schuberts Sinfonien – im Konzert und auf CD mit dem
Tonhalle-Orchester Zürich unter der Leitung von
David Zinman: Es war eine gewaltige künstlerische
Herausforderung, verteilt über mehrere Spielzeiten: die
Aufführung und CD-Einspielung aller zehn Sinfonien von
Gustav Mahler. Die Resonanz war und ist enorm. Nun
wenden sich David Zinman und das Tonhalle-Orchester
Zürich in den kommenden Spielzeiten Schuberts acht
Sinfonien zu. Im Februar 2011 stehen die beiden ersten
Sinfonien, die Jugendwerke des 16- bzw. 18-jährigen
Franz Schubert auf dem Programm. Im Mai folgen die
letzten beiden, die berühmte «Unvollendete» Sinfonie Nr. 7 und die Grosse C-Dur-Sinfonie
Nr. 8 – eine der bedeutendsten Sinfonien der Romantik – sowie das Rondo A-Dur
mit dem 1. Konzertmeister Andreas Janke an der Violine. Nach den Konzerten werden
die Sinfonien auf CD eingespielt und von Sony produziert.
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Continu premiered in summer 2010 and is a choreography into which Sasha Waltz
condenses the fruits of her two major museum projects in 2009. The outcome is a singularly
entertaining evening's performance.
Industry and Idleness. The work of Heiner Goebbels is shot through with this kind of
contrast. His productions indeed show him to be a master of the art of creating contradictions.
The Schiffbauhalle, a monument to Zurich's industrial past, is the ideal setting for the
show. The new play by Lukas Bärfuss toys with the subject of memory; it doesn't want to
know everything about itself. When this magazine went to press (a year before the play's
world premiere), the playwright thus chose to formulate an idea that accompanied him
while he was writing rather than a list of contents: «In a certain way, the people in Small
Country could, in response to their need, be seen as the consummate opportunists.» Theater
manager Barbara Frey plans to produce William Shakespeare's As You Like It. The story
begins with a shipwreck and ends in the haven of marriage. In the meantime, a marvelous
comedy of errors unfolds in which the protagonists have little to laugh about.
Schubert's symphonies live in concert and on CD –
with the Tonhalle Orchestra Zurich, conducted by David
Zinman: Performing and recording all ten of Gustav
Mahler's symphonies was a colossal artistic challenge
that had to be spread over several seasons. The response,
however, has been overwhelming – and shows no sign of
letting up. In the seasons ahead, David Zinman and the
Tonhalle Orchestra Zurich are now turning their attention
to the eight symphonies penned by Franz Schubert. The
first two – symphonies written by the composer at the
tender age of 16 and 18 respectively – are first up in February
2011. The cycle ends in May with Schubert's two last
symphonies: the famous «unfinished» Symphony No. 7;
and the masterful Symphony No. 8 in C major, one of
the foremost symphonies of the romantic era. Schubert's
Rondo in A major will also be performed with concert
master Andreas Janke on the violin. Sony plans to produce
the live performances as a series of CDs.

guebelin.ch
Inspiration
made by Gübelin.
Das Juwel verlangt nach ausserordentli-
chem Handwerk. Nach Erfahrung
und Wissen in der Wahl der wertvollsten
Edelsteine. Doch erst die inspirative
Kreation, das Spiel mit Material, Farbe
und Licht schafft die entscheidende
Qualität: Schafft es, dass das grösste
Glanzstück nicht der Schmuck ist.
Sondern Ihr persönlicher Auftritt.
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views agenda
Art in the pArk
Alljährlich wird der Baur au Lac Park
Treffpunkt für Kunst-Enthusiasten
Every year, the hotel's park becomes
a magnet for art enthusiasts
Art in the PArk V:
FernAndo Botero
tony CrAgg
ronnie Cutrone
roBert indiAnA
JAni Leinonen
MeL rAMos
rotrAut
ninA sAunders
riChArd Woods
A Art in the PArk Vi:
oLAF Breuning
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Fernando Botero
Wenn auf dem makellosen Rasen im Park
des Baur au Lac schweres Gerät auffährt,
dann ist es wieder so weit. Art in the Park
steht auf dem Programm. Zwei mal im Jahr organisiert
Gigi Kracht in Zusammenarbeit mit
ausgewählten Galerien diese Kunstschau.
Wie üblich stand das Frühjahr im Zeichen
grosser Namen, dieses Mal unter dem
Motto POP ART. Mel Ramos’ legendärer
Life Saver war da, Ronnie Cutrone schuf eigens
für diesen Anlass eine neue Skulptur.
Robert Indiana war mit seinen emblematischen
Zahlen vertreten, und der noch
junge Jani Leinonen bewies, dass
die Pop Art lebendiger ist denn je.
Im Herbst folgte dann Art in the
Park VI, im fallenden Herbstlaub bei
milden Temperaturen traf sich eine
illustre Gesellschaft zur Vernissage
der Werke von Olaf Breuning,
dem Shooting Star aus New York
mit Schweizer Wurzeln. Mit Unterstützung
der Galerie Nicola
von Senger und einem privaten Mäzen ermöglichte
Gigi Kracht es dem jungen Künstler,
seine Werke exklusiv für diesen Anlass
bei Schweizer Metallspezialisten anfertigen
zu lassen, und hier im Park des Baur
au Lac zum ersten Mal der Öffentlichkeit
vorzustellen.
Heavy goods vehicles backing onto the immaculate lawn
of the Baur au Lac park can only mean one thing: It is
«Art in the Park» time again! Twice a year, Gigi Kracht teams up
with selected galleries to organize this exclusive art exhibition.
As ever, big names were again prevalent at the 2010 spring
showing, the chosen theme this time around being pop art. Mel
Ramos’ legendary «Life Saver» was there. Ronnie Cutrone crafted
a new sculpture specially for this exhibition. Robert Indiana’s
emblematic numbers were likewise on display. And the youthful
Jani Leinonen demonstrated that pop art is still very much alive
and kicking.
«Art in the Park VI» followed in the fall, with an illustrious
audience gathering to enjoy mild temperatures, falling leaves
and a private viewing of works by Olaf Breuning,
the Swiss-born shooting star from New
York. Supported by the Gallery
Nicola von Senger and
a private art enthusiast,
Gigi Kracht
made it possible
for the young
artist to have his
works made to order
specially for this
occasion by Swiss
metalworking specialists
and unveiled to the
public for the first time
here in the park of the
Hotel Baur au Lac.
Jani leinonen
Mel raMos

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views agenda
heAding north
Ein neuer Partnerclub in Skandinavien rückt den Hohen Norden näher an die Zürcher Geschäftswelt heran.
A new partner club in Scandinavia brings the far north closer to Zurich‘s business community.
NORSKE SELSKAB
SäLLSKAPET CLUB, STOCKHOLM
HELSINKI BOURSE CLUB
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Dem privaten Club Baur au Lac ist es gelungen, den Norway Club
als neuen Partnerclub zu gewinnen. Er ergänzt damit die Liste der
wichtigsten Member Clubs in Skandinavien. Mit dem Helsinki Bourse
Club und dem schwedischen Club Sällskapet war man schon früher eine
Liaison eingegangen.
Der Norske Selskab wurde 1772 gegründet, er ist damit Norwegens
ältester und auch prestigeträchtigster Gentleman’s Club. Der Club besitzt
das Neo-Rokkoko Gebäude an der Akersgaten Nummer 18, teilt sich das
imposante Anwesen aber mit dem Norwegischen Parlament, das einige
Bereiche hierhin ausgelagert hat. Der langen Geschichte des Clubs und
seines Domizils wird man im ganzen Haus stets gewahr, nicht zuletzt angesichts
einer der bedeutendsten Sammlungen einheimischer Künstler
des letzten Jahrhunderts. Zu den wichtigsten Einrichtungen gehören der
Grand Dining Room, fünf Sitting Rooms, eine Bibliothek, ein Billiard-Zimmer
und der hervorragend ausgestattete Board Room.
Nicht minder prestigeträchtig ist der Sällskapet Club in Stockholm,
im Jahr 1800 gegründet und seit 1870 an der exklusiven Adresse in der
Arsenalsgatan domiziliert, glänzt er mit einer exquisiten Kunstsammlung,
deren Werke zumeist Spenden der Mitglieder sind. Der eigentliche Schatz
des Sällskapet ist jedoch die Bibliothek mit ihren 17’000 Bänden.
Etwas jüngeren Datums ist der Helsinki Bourse Club, 1910 gründete
eine Gruppe einflussreicher Geschäftsleute diesen Club in der Absicht,
einen Börsenplatz einzurichten. Ihr verdankt die Finnische Börse ihre Entstehung.
Da liegt es nahe, dass hier nicht so sehr die Kultur im Vordergrund
steht, vielmehr sieht sich der Helsinki Bourse Club in erster Linie als
Business-Club.
The Club Baur au Lac is pleased to announce the Norway Club as
a new partner club, adding to the list of prominent member clubs
in Scandinavia. Relationships have already been established with the
Helsinki Bourse Club and Sweden’s Club Sällskapet.
Founded in 1772, Norske Selskab is Norway‘s oldest and most prestigious
gentlemen‘s club. The club owns the neo-Rococo building on
Akersgaten 18 but shares the imposing edifice with the Norwegian Parliament,
which operates a number of its departments here. The entire build-
ing echoes the long history of both the club and its domicile, not least
thanks to one of the country‘s most prestigious collections of art by indigenous
20th-century painters. Key facilities include the Grand Dining
Room, five sitting rooms, a library, a billiards room and an excellently
equipped board room.
No less prestigious is the Sällskapet Club in Stockholm. Founded
in 1800, this club has been domiciled at an exclusive address on the Arsenalsgatan
since 1870. It too boasts a fine collection of artworks, most
of which were donated by members. The library, containing some 17,000
works, is nevertheless the Sällskapet‘s most valuable treasure.
The Helsinki Bourse Club is a slightly more recent vintage. In 1910,
a group of influential businessmen launched the club with the aim of
commencing stock market activities. The group also commissioned the
building of the Finnish Stock Exchange. In keeping with this tradition,
the Helsinki Bourse Club sees itself primarily as a business club rather than
concerning itself with cultural affairs.

ZÜRICH
Bahnhofstrasse 64
+41 44 227 17 17
GENÈVE
rue du rhône 62
+41 22 318 62 22
LUGANO
Via nassa 5
+41 91 923 51 56
ST-MORITZ
Palace Galerie
+41 81 833 51 77
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Expression
of aLife
styLe
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«Contemporary fine dining»
im restaurant pavillon
Die Lage darf spektakulär genannt werden, im privaten Park des
Baur au Lac entsteht durch die verglaste Rotonde der Eindruck,
man speise inmitten der Natur, während am Horizont die majestätischen
Alpengipfel grüssen.
Unterstützt wird das südliche Ambiente durch die Handschrift des Innenarchitekten
Pierre-Yves Rochon, lila und mintgrüne Polster möbel im
Art Déco Stil setzen markante Spitzlichter, bringen Moderne und grosse
Tradition auf einen Nenner. Jean Armleders Kunstwerke an den Wänden
korrespondieren mit den genial arrangierten Gerichten auf den Tellern.
Chef de Cuisine Laurent Eperon steht für eine leichte Interpretation
der klassischen Haute Cuisine; er übernimmt deren rigorosen Anspruch
an Qualität und Frische der Zutaten, und würzt dann ihre Raffnesse mit
akribischer Sorgfalt, Hingabe zum Detail und zukunftsweisender Kreativität.
Am Ende steht Eperons Konzept des «Contemporary Fine Dining».
Laurent Eperons Können wird dabei kongenial ergänzt durch das
fundierte Fachwissen des Sommeliers Aurelien Blanc, dieser führt den
Gast mit viel Gespür und dezenter Beratung durch die Weinkarte mit
ihren unglaublichen 400 Positionen – die Baur au Lac-eigene Weinhandlung
lässt grüssen. Auch der Service unter Leitung von Kai Walter
durchbricht allzu überkommene Hierarchie-Strukturen, setzt mehr
auf die Kompetenz des Einzelnen, und bereitet so den Gästen ein «elegantes,
aber nicht for melles Gourmet-Erlebnis» (Eperon).
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Contemporary fine dining
at the pavillon restaurant
It is no exaggeration to call the location spectacular. Nestled amid
the lush greenery of the Baur au Lac‘s own private park, the glazed
rotunda gives you the impression of eating outdoors.
While Alpine peaks provide a majestic backdrop, the work of interior
designer Pierre-Yves Rochon underscores the distinctly Mediterranean feel
of the place. Art Déco-style violet and mint-green upholstery provides
eye-catching highlights, striking the perfect balance between modernday
styles and the hotel‘s venerable tradition. Even Jean Armleder‘s wallmounted
art works reflect Eperon‘s ingenious culinary arrangements.
Head chef Laurent Eperon favors a light, modern take on the classical
haute cuisine theme, subscribing fully to the latter‘s rigorous standards of
quality and freshness while seasoning his elaborate creations with a deft
meticulousness, an unashamed passion for detail and a generous helping
of ground-breaking creativity. The end product is Eperon‘s concept of
«contemporary fine dining».
Laurent Eperon‘s skills are ideally complemented by the encyclopedic
knowledge of sommelier Aurelien Blanc, whose courteous sensitivity and
discreet advice guide guests through the no less than 400 entries in the
wine list (courtesy of the Baur au Lac‘s own wine store). Under the leadership
of Kai Walter, the quality of service too transcends conventional
hierarchic structures, trusting more to the competence of the individual
and thus affording guests, in the words of Eperon himself, an «elegant but
by no means formal gourmet experience».
26 | views magazine

Swiss
values form the backbone of our approach
to Private Banking. Reliability, attention to
detail, thoroughness – these are the essential
principles that enable us to offer our clients
solutions of lasting
quality.
Joëlle Stauber-Dubuis, Private Banking
Bank Vontobel AG
Gotthardstrasse 43
8022 Zurich
Switzerland
Telephone +41 (0)58 283 68 65
www.vontobel.com
Zurich Basle Berne Cologne Dubai Frankfurt a. M. Geneva Hamburg Hong Kong
London Lucerne Luxembourg Madrid Milan Munich New York views Salzburg magazine Vaduz | 27 Vienna

dark desire
ein köstliChes stüCk
Baur au laC mit
naCh hause nehmen...
Why not take a deliCious
taste of the Baur au laC
home With you?
28 | views magazine
Mit Carré Noir 70% startet die neue Schoko -
ladenmarke «1844», die das Baur au Lac exklusiv
mit den Spezialisten von Barry Callebaut
entwickelt hat. Am Anfang fällt der kräftige
Geschmack auf, nicht verwunderlich bei einem
Kakaoanteil von 70 Prozent; dann meldet
der Gaumen dezente Röstaromen und im Abgang
besticht die Carré Noir mit einer fruchtig
frischen Säure, eher selten bei Bitterschokoladen.
In einer aufwändigen Assemblage wurden
die passenden Kakao-Sorten zu einer exquisiten
Schokolade gemischt, die durch die Stimmigkeit
der einzelnen Aromen untereinander
besticht.
Der Name «1844» erinnert natürlich an das
Gründungsjahr des Baur au Lac und die heutige
Besitzerfamilie hat direkt mit den Chocolatiers
die Rezeptur der neuen Schokolade entwickelt.
Nach der Carré Noir, die sich sofort grosser Beliebtheit
erfreute und zu einem begehrten Mitbringsel
avancierte, werden in Zukunft auch
Sorten für Liebhaber süsserer Varianten folgen.
Carré Noir 70% is the flagship product that
has successfully launched the new «1844»
chocolate brand, developed exclusively by
the Baur au Lac in collaboration with master
chocolatier Barry Callebaut. Given a cocoa content
of 70 percent, the first impression of a strong
cocoa taste is not surprising. Gradually, the taste
buds register a more subtle roasted flavor, giving
way to a refreshingly fruity aftertaste that is
quite unusual for dark chocolate.
Blending the various cocoa strains was a
complex process, the end product of which is an
exquisite chocolate whose individual nuances
complement each other to perfection.
The name «1844», of course, alludes to the
year in which the Baur au Lac was founded; and
the hotel’s current owners have worked closely
with Barry Callebaut to develop the recipe for the
new chocolate. Carré Noir rose to stellar popularity
and became a coveted gift and souvenir
almost overnight. Variations accommodating
sweeter tastes will follow in the future.

Wealth Management
Asset Management
Investment Funds
Custody Services
Privatbank seit 1805
Pictet & Cie
Freigutstrasse 12
8002 Zürich
Tel: 058 323 77 77
www.pictet.com
Fakt: Familien
wachsen.
Behauptung:
Ihre Investitionen
sollten es auch.
views magazine | 29
Wahre Unabhängigkeit

a distinCtiVe
look & feel
Die Tür fällt ins Schloss und sofort macht sich Entspannung breit,
aus der Stereoanlage klingt dezent klassische Musik, die Beleuchtung
ist angenehm gedimmt, die Vorhänge sind bereits zugezogen
und auf dem Tisch wartet eine Schale mit frischem Obst.
Zeit, nach einem anstrengenden Reisetag durchzuatmen und sich
ein wenig umzusehen. Reisende, die zwei Jahre nicht hier waren, werden
überrascht sein, nahezu alle Zimmer im Baur au Lac sind neu eingerichtet,
ob Einzelzimmer oder Deluxe Suite, überall herrscht unnachahmliche
Eleganz. Grosszügige Raumgestaltung, edelste Materialien und ausgefeilte
Handwerkskunst fallen unmittelbar ins Auge. Nicht zu übersehen
ist die markante Handschrift des Dekorateurs Frédéric d’Haufayt, der zusammen
mit Viviane Rey und der Besitzerfamilie jedes Zimmer individuell
gestaltet hat. Mal prägen tiefblaue Accessoires wie die seidenen Kissen
den Raum, einige Türen weiter ist es ein rotes, auffälliges Sofa, das den
Gast in seinen Bann zieht. Unterschiedliche Stile mischen sich zu einem
einzigartigen neuen Ambiente, Art Déco kommt einem in den Sinn und
klar ist auch die grossartige Epoche des Louis XVI zu erkennen, Re gency
stand ebenfalls Pate. Quer durch Europa sind sie gereist, immer auf der
Suche nach den jeweils besten Materialien; kostbare Stoffe, Möbel und
Lampen – aus Italien, Frankreich, Belgien, Deutschland und England. Die
handgewebten Teppiche kommen zum Teil gar aus dem fernen Hongkong,
wo chinesische Spezialisten die grosse Tradition der Teppichkunst
der Kaiserzeit fortführen.
Beinahe unnötig zu erwähnen, dass auch die technischen Einrichtungen
auf dem Stand der Zeit sind, aber sie stechen nicht ins Auge,
Flachbildfernseher, iPod Docking Station, Sound System und Telefonanlage
integrieren sich vielmehr unauffällig in das edle Ambiente ohne
die Aura der Eleganz zu stören. Nahezu völlig den Blicken entzogen,
30 | views magazine
die aufwändige Sicherheitstechnik vom hochmodernen Brandmeldesystem
bis zur Schliessanlage, die höchsten Sicherheitsstandard in den
« guten alten Schlüssel» integriert, statt auf billige Plastikkarten zu setzen.
Und dann die Badezimmer – solider Marmor bedeckt Wände und Waschtisch,
mattierte Glasflächen trennen die Dusche vom Raum und hochwertige
Armaturen lassen das Wasser in die geräumige Wanne. Vor
dem Einschlafen kreisen die Gedanken noch einmal um das exquisite
Dinner und diesen neuen, köstlichen spanischen Rotwein – welch eine
Entdeckung!
Am nächsten Morgen lacht die Sonne vom See herüber, ein erster
Schritt hinaus auf den mit Schmiedeeisen gefassten Balkon, tief durchatmen
und die saubere Luft weckt die Lebensgeister. Im Pavillon wartet
das Frühstück mit dem legendären Bircher Müesli. Am Nachbartisch
bahnt eine junge, dynamische Managerin aus dem Fernen Osten ein
Geschäft mit ihrem Schweizer Gegenüber an, während weiter hinten ein
Herr in den besten Jahren sich der International Herald Tribune widmet
und seinen grünen Tee geniesst.
Vor den Fenstern steht der mächtige Ginkgo voll im Laub, im Park
toben zwei Kinder und auf dem Schanzengraben kehren zwei Ruderer
von ihrer morgendlichen Trainingsstunde auf dem See zurück. Ein neuer
Tag kann beginnen, top-fit und ausgeruht nach dieser Nacht im Baur au
Lac, wird er sicherlich von Erfolg gekrönt sein.

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Pure, unadulterated relaxation begins the moment the door clicks
to. Soft strains of classical music emanate from the hifi system; the
lighting is pleasantly subdued. The curtains are already drawn; and
a bowl of fresh fruit awaits you on the table.
Time for a breather and a chance to look around at the end of a hard
day’s travel. Guests who haven’t been here for two years are in for a surprise:
Virtually every room at the Baur au Lac – from single room to deluxe suite
– has been refurbished. Inimitable elegance is at every turn. Generously
proportioned room design, the choicest materials, sophisticated workmanship…
And those are only the impressions that immediately catch
the eye. Nor can one overlook the unmistakable signature of interior
designer Frédéric d’Haufayt who, together with Viviane Rey and the
family who owns the hotel, gave every last room its own distinctive
look and feel. One room is adorned with rich blue silk cushions.
A few doors down, a striking red sofa is the center of attention. Together,
the varying styles crystallize to form a unique new ambiance
that is at once evocative of Art Déco, reflects clear traces of the magnificent
Louis XVI era and cannot deny a distinct Regency influence.
34 | views magazine
D’Haufayt and Rey traveled the length and breadth of Europe in search
of the best materials, the most treasured fabrics, furniture and lighting
from Italy and France, from Belgium, Germany and England. Some of the
hand-woven carpets even arrived here from far-off Hong Kong, where
Chinese specialists still uphold the great artistic carpet-making traditions
of the imperial era.
Needless to say, the Baur au Lac’s technical conveniences too are as
state-of-the-art as they are unobtrusive. Flat-screen TVs, iPod docking stations,
sound systems and telephone installations fit inconspicuously into
the elegant surroundings whose harmonious aura they never even threaten
to disturb. The sophisticated security technology – from a cutting-edge
fire alarm system to «good, old-fashioned keys» that satisfy top-level security
standards and were preferred to cheap-looking plastic cards – is indeed
almost completely hidden from view. And then there are the bathrooms.
Solid marble covers the walls, vanity and sink. Frosted glass partitions separate
the showers from the rest of the room, while expensive taps channel
water into the spacious bathtubs.

Before dropping off to sleep, it is hard to keep from thinking back to the
evening’s exquisite dinner. Not to mention that delicious new Spanish wine.
What an exciting discovery!
Next morning, the sun, glinting across the lake, smiles gently into the
room. The first step of the day takes you out onto a balcony set in wrought
iron; and the first breath of the day fills your lungs with clean, fresh air and
pulsating vitality. Breakfast is ready and waiting in the Pavillon. At the
next table, the dynamic young manager from the Far East and her Swiss
counterpart are doubtless putting the finishing touches to some highvolume
business deal or other. Farther back in the room, a smartly attired
best-ager sips delicious green tea and is clearly engrossed in the International
Herald Tribune.
Outside, the idyllic park in the center of a busy metropolis is truly unrivaled.
Beneath the lush foliage of the mighty gingko tree, children are out
running and playing on the lawn. Out on the Schanzengraben canal, two
canoeists are returning to the lake from their early-morning training session.
When you are as relaxed and fit as you are after a night at the Baur
au Lac, every new day can only be a successful one.
eVery room and suite
at the Baur au laC has Been
refurBished – inimitaBle
eleganCe is at eVery turn
alle Zimmer und suiten
im Baur au laC Wurden
neu eingeriChtet – mit
unnaChahmliCher eleganZ
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Obwohl es nur ein Fotoshooting mit einem professionellen Model
war, blieben die Menschen auf der Hotelterrasse wie auf der
Strasse fasziniert stehen.
Träumen wir die Szenerie doch einmal weiter, als handelte es sich um eine
echte Hochzeit. Die Magie des Ortes, die grosse Tradition dieses Hotels,
der Park zwischen See und Schanzengraben ziehen die Menschen in ihren
Bann und machen das Baur au Lac zum idealen Ort für den wichtigsten
Tag im Leben eines jungen Paares. Selbstredend stimmt auch die
«Software», hier sind stets Profis am Werk und der ohnehin legendäre Service
im Baur au Lac läuft an solch aussergewöhnlichen Tagen zur Höchstform
auf. Grosse Veranstaltungen sind im Baur au Lac an der Tagesordnung,
aber eine Hochzeit ist doch immer wieder etwas Besonderes, eine
andere Aura schwingt mit als bei geschäftlich motivierten Anlässen. In der
langen Geschichte des Hauses verköstigte man schon Kaiser und Könige,
welt berühmte Schauspieler und grosse Musiker, dennoch gelingt es den
Profis hier, jeder Braut das Gefühl zu geben, die wichtigste Person auf der
Welt zu sein, zumindest heute an diesem besonderen Tag.
Dieser Tag würde wohl im Beauty-Salon Vanity hier im Haus beginnen,
dessen Spezialistinnen die Schönheit der Braut und ihrer Brautjungfern
zum Leuchten bringen und die Hauptperson in eine moderne Prinzessin
verwandeln. Dann folgte sicherlich die Fahrt im üppig geschmückten
White
Wedding
der üppig gesChmüCkte rolls-
royCe Wartet, die Braut sChreitet
in ihrem Weissen traum Von einem
hoChZeitskleid die treppe hinunter...
the rolls-royCe is done up to
the nines. the Bride, radiant
in a dream of White, glides
graCefully doWn the steps…
Rolls-Royce, der die Kolonne zur Kirche anführt und die bewundernden
Blicke der Passanten auf sich lenkt. Zurück im Baur au Lac, entspannt sich
die festlich gekleidete Gesellschaft beim Cocktail-Empfang im Park, am
Rande unter der mächtigen Zeder sorgen zwei Geiger für stimmungsvolle
musikalische Untermalung, dazu hört man das Klingen der Champagnergläser,
während auf dem Schanzengraben die Schwäne unbeirrt
ihre Bahn ziehen.
In der Küche herrscht inzwischen Hochbetrieb, mit routinierten Handgriffen
wird das Menu für 130 Gäste vorbereitet, die sich gleich im festlich
dekorierten Petit Palais niederlassen werden. Der Sommelier wirft einen
letzten prüfenden Blick auf die Weinliste, dieser Mann kann aus dem Vollen
schöpfen, die Baur au Lac Weinhandlung ist eine der grössten der
Schweiz und zur daraus resultierenden Kompetenz kommt ein Lager von
etwa einer halben Million Flaschen.
Wir malen uns aus, wie die Gesellschaft in dieser einzigartigen Atmosphäre
feiert, wie eine mehrstöckige Hochzeitstorte hereingefahren wird,
wie die Band zum Tanz aufspielt. Diese «virtuelle» Hochzeit haben wir
erfunden, unsere Braut war ein Model, aber dabei haben wir uns von
der Realität leiten lassen, wie das Interview auf Seite 46 mit einer
realen Braut zeigt, die hier im Baur au Lac eine ebenso reale Hochzeit
gefeiert hat.
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It may only be a professional photo shooting with a professional
model; yet it is enough to keep the guests mingling on the hotel’s
terrace rooted to the spot. Let’s carry the dream a little further and
pretend it is a real wedding..
The magic of the location, the hotel‘s towering tradition, the park nestled
between the lake and the Schanzengraben canal all capture the imagination
and enchant the eye, making the Baur au Lac the ideal venue
for the Biggest Day in the life of any young couple. It goes without saying
that the behind-the-scenes professionals and the hotel‘s legendary service
too are right at the top of their game on a day like this. While the Baur au
Lac is certainly no stranger to major events, every wedding is a truly special
event: The whole atmosphere is completely different to even the most festive
business event. Emperors and kings, world-famous actors and great
musicians have been welcomed here in the course of our illustrious history.
Yet our consummate professionals still manage to give every bride the feeling
of being the most important person in the world, at least on this most
special of days.
The Vanity beauty salon at the Baur au Lac is the ideal starting point.
Vanity‘s specialists magnify the beauty of bride and bridesmaids alike,
transforming the former into a modern-day princess. Next up is doubtless
the drive to the church, headed by the lavishly decorated Rolls-Royce
42 | views magazine
a setting seemingly made for the
most Beautiful day in your life
eine kulisse, Wie gesChaffen für
den sChönsten tag im leBen
and surrounded on all sides by the well-wishing smiles of passers-by. Back
at the Baur au Lac, the immaculately turned-out party can relax over a
cocktail reception in the park. Under the spreading branches of our mighty
cedar, two violinists provide a romantic musical backdrop, accompanied
by the cheerful «pling» of Champagne glasses. Even the swans out on the
Schanzengraben seem inexorably drawn to the proceedings.
Meanwhile, the kitchen is a hive of activity. With the deft precision that
is the hallmark of seasoned experts, the various courses are prepared for
the 130 guests who are about to take their seats in the extravagantly decorated
Petit Palais. The sommelier casts a last critical gaze over the wine list.
It is reassuring to know he has abundant resources to draw on: The Baur au
Lac‘s own wine store is one of the largest in Switzerland, its unquestioned
excellence backed up by the roughly half a million bottles kept in stock.
Imagine the palpable festivity of such a unique atmosphere. Visualize
the multi-tiered wedding cake being wheeled in; hear the band striking up
a dance; and another, and another. All too soon, our «virtual» wedding will
draw to a close. And yes, we admit it: It was all a figment of our imagination.
The bride is but a model. Yet our dream is born of experience and reality.
Witness the interview on page 46 with a genuine bride whose real, live
wedding reception took place here at the Baur au Lac…

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die Braut
geniesst das
gefühl an
diesem tag die
WiChtigste
person auf der
Welt Zu sein
the Bride gets
the feeling of
Being the most
important person
in the World
44 | views magazine

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«hoLLyWood in ZuriCh»
Das renommierte Schweizer Fachblatt «Swiss Wedding»
bat eine Braut nach dem grossen Ereignis zum Interview:
Herzliche Gratulation zu Ihrer Hochzeit! Mit welchen Worten
würden Sie Ihren grossen Tag ganz spontan beschreiben?
Vielen Dank! Es war tatsächlich der schönste Tag in meinem Leben.
Und wann haben Sie mit der Planung der Hochzeit begonnen?
Ein Jahr davor.
Sie haben im renommierten Baur au Lac in Zürich geheiratet.
Weshalb haben Sie sich für diese Location entschieden?
Das Hotel Baur au Lac geniesst einen hervorragenden Ruf. Zudem
bietet die Lage direkt am See eine wunderschöne Kulisse für eine
Hochzeit unter freiem Himmel. Diese zwei Punkte waren für uns
ausschlaggebend.
Wie war die Zusammenarbeit mit den Verantwortlichen
des Hotels?
Professionell und zuvorkommend. Zu jedem unserer Anliegen
fanden sie die perfekte Lösung – und weit darüber hinaus!
Konnten alle Ihre Vorstellungen vom perfekten Fest
verwirklicht werden?
Mehr als das: Das Hotel Baur au Lac hat massgeblich dazu beige
tragen, unsere Hochzeit zum schönsten Tag in unserem Leben
werden zu lassen! Unsere Gäste erzählen uns noch heute, unsere
Hochzeit sei Hollywood in Zürich gewesen. Wunderschönes Wetter
ermöglichte uns eine Trauung unter freiem Himmel, der Küchenchef
zauberte ein tolles Essen und die Weinempfehlung des Sommeliers
war ein Gedicht. Dazu das perfekt abgestimmte Team des Hotels.
Was waren im Vorfeld die grössten Schwierigkeiten
bei der Planung?
Das passende Hochzeitsthema zu finden, war bestimmt der
schwierigste Punkt.
Wofür haben Sie sich dann entschieden?
Schlicht und einfach «Liebe» – das passt ja perfekt zur Hochzeit.
Einen ganz speziellen Text dazu haben wir dann für die Einladungskarten,
die Tischdekoration und die Ring-Gravur verwendet.
INTERVIEW ENTNOMMEN AUS «SWISS WEDDING», AUSGABE 1/2011.
46 | views magazine
«Swiss Wedding», a respected trade journal,
interviewed a bride about her big day.
Congratulations on your wedding! Off the top of your head,
what words come to mind to describe your special day?
Thank you! It really was the most wonderful day in my life.
When did you start planning your wedding?
A year in advance.
The reception was held at the Baur au Lac, a highly regarded
hotel in Zurich. What prompted you to choose this location?
The Hotel Baur au Lac has an outstanding reputation. At the
same time, its location right on the lake creates a beautiful setting
for an outdoor wedding. Those were the two points that clinched
it for us.
How would you describe the attitude of the people you had
to deal with at the hotel?
Professional and obliging. Whatever we wanted, they found the
perfect solution – and gave us much more besides!
Did your dream of the perfect celebration come true?
More than that: The Hotel Baur au Lac was instrumental in
making our wedding the best day of our lives! Our guests still tell us
our wedding was «Hollywood in Zurich». Marvelous weather allowed
us to hold the reception outdoors. The chef de cuisine conjured up a
sumptuous feast; and the wines recommended by the sommelier were
pure poetry. The hotel team too worked like clockwork.
What were the biggest difficulties during the planning phase?
Deciding on a suitable theme for the wedding was definitely the
biggest headache.
So what did you decide on in the end?
Quite simply «Love», the perfect theme for the wedding. We then
used a very special, meaningful text for the invitations, the table
decorations and the engravings on the ring.
INTErVIEW rEPrODuCED frOm SWISS WEDDING, ISSuE NO. 1/2011.

Ein wunderschöner Garten.
Oder anders ausgedrückt: Das Ergebnis professioneller Planung, täglicher Pflege,
der richtigen Korrekturen zur rechten Zeit. Denken Sie nun an Ihr Vermögen?
bank sal. oppenheim jr. & cie. (schweiz) ag
uraniastrasse 28 8022 zürich telefon +41 44 214 22 14 e-mail bank@oppenheim.ch
www.oppenheim.ch
views magazine | 47

piemont
Die Küche des Piemont gilt als eine der abwechslungsreichsten
Italiens. Sie ist authentisch, hat es verstanden, den bewährten Geschmack
von einst und die alten, eng an die lokalen Produkte gebundenen
Traditionen unversehrt zu erhalten.
Viele der Rezepte dieser Küche sind bäuerlich inspiriert, werten
die Frische der naturreinen Produkte vom Land auf. Sie passen zu den
Menschen, die Piemonteser gelten als bodenständig im besten Wortsinn,
sie sind Freunde der guten und geselligen Tafel. Dabei sind Sie
wahre Gourmets, die sich nicht vom Zeitgeist blenden lassen, die den
vermeintlich einfachen Genuss lieben, die Zutaten zu würdigen wissen,
und es gerne auch einmal etwas deftiger mögen. Charakteristische
Merkmale dieser Küche sind zunächst einmal die beträchtliche Ver -
wendung von Butter und Speck, der Verzehr von rohem Gemüse, die
Verwendung des «sanato» (das Fleisch des wenige Monate alten, aus -
48 | views magazine
Butter, BaCon
and White truffles
schliesslich mit Milch ernährten Kalbs; man findet dieses Fleisch nur im
Piemont und im Aostatal). Hinzu kommt die Käsevielfalt und der ziemlich
verschwenderische Einsatz von Trüffeln.
2’000 Jahre Weinbau-Tradition. Selbstredend verstehen sie sehr
viel von Wein – schon zur Zeit der alten Griechen kultivierten die Winzer
hier erste Qualitätsweine. Heute stehen in den Provinzen Alessandria,
Asti, Cuneo, Torino und Vercelli rund 55’000 ha Rebfläche zur Verfügung,
darunter befinden sich über 52 DOC(G) Bereiche. Schwerpunkt des Weinanbaus
ist die Region der Langhe, eine Hügellandschaft in der Nähe jener
Stadt, die den weissen Trüffeln ihren Namen lieh. Hier werden der Barolo
sowie der Barbaresco, zwei der ganz grossen Weine Italiens, erzeugt. Beide
Weintypen haben in den letzten Jahren grosse Veränderungen erfahren.
Die fortschrittlichen Erzeuger bereiten weiterhin grossartige Weine,
die jedoch zugänglicher und ausgeglichener als früher sind.

By STEPHaN raDLOff
PIEMONT – A BYWORD FOR WORLD-CLASS WINES, HOME TO BAROLO, BARBARESCO AND ARNEIS
PIEMONT – SYNONYM FüR WELTKLASSE-WEINE, HEIMAT VON BAROLO, BARBARESCO UND ARNEIS
Piedmont’s cuisine is hailed as one of the most richly diverse in Italy.
It is, above all, authentic, having mastered the art of preserving the taste
of yesteryear and upholding the traditions that are closely interwoven with
local produce. Many of the region’s recipes draw inspiration from its farming
communities, setting great store by the fresh, unspoiled products that
the land still brings forth. Which is a fair reflection on the people here too,
it must be said. The Piedmontese are seen as down-to-earth in the very
best sense of the term; good food and good company always go down
well here. Yet they are also true gourmets, never taken in by zeitgeisty fads
and fancies. Given to the joys of what others call culinary simplicity, they
appreciate the value of quality ingredients, and are by no means adverse
to rich, earthy dishes. Characteristic attributes of the region’s cuisine begin
with the copious use of butter and bacon, continue with the consumption
of raw vegetables, peak with the use of sanato (the meat of calves fed solely
on milk and slaughtered at the age of a few months; this delicacy is found
only here and in the neighboring Aosta Valley), naturally include a broad
assortment of cheeses and stand out for their fairly liberal use of truffles.
Wine-growing – a 2,000-year tradition. It goes without saying that
the Piedmontese also know an awful lot about wine. Local vintners produced
the region’s first quality wines as far back as the days of the ancient
Greeks. Today, the provinces of Alessandria, Asti, Cuneo, Turin and Vercelli
devote some 55,000 hectares of prime land to wine-growing, including
52 DOC(G) appellations. Wine-growing in the region is centered around
Langhe, a patch of hilly terrain not far from the town that gave white
truffles their name. Two of Italy’s truly great wines, Barolo and Barbaresco,
are produced here. Both have experienced far-reaching changes in recent
years. Progressive vintners are as committed as ever to producing superb
wines. What they have done, though, is make their products more balanced
and accessible than in the past.
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Die Weine des Hauses Rocche Costamagna in La Morra sind das
Er gebnis des Zusammenspiels einmaliger Faktoren: die geogra -
phische Lage, die Fürsorge, die ihnen im Weinberg zuteil wird und die
über Jahrzehnte angesammelte Erfahrung der Kellermeister. Die Böden
von La Morra gleichen denjenigen von Barbaresco, perfekte Wasserspeicher
für die in drei bis fünf Meter Tiefe wurzelnden Reben. Das Ergebnis
sind delikat-fruchtige Weine mit Eleganz und weichen Gerbstoffen.
«Rocche», so nennen sie hier eine Hügellandschaft, in diesem Fall ein
besonders berufenes Weinbaugebiet, den historischen Cru der Familie,
genannt «Rocche dell’Annunziata». Auf ihm befinden sich sechs der insgesamt
vierzehn Hektar des zum Betrieb gehörenden Grundeigentums.
«Costamagna» ist der Familienname dieses Winzerbetriebs in
La Morra, in dem seit über hundertsechzig
Jahren Qualitätsweine hergestellt und vertrieben
werden.
Heute hat Alessandro Locatelli die Zügel
in der Hand, unterstützt vom Agrarwissenschaftler
Gian Piero Romana und vom
Önologen Giuseppe Caviola. Im Winzerbetrieb
Rocche Costamagna werden modernste
Weinbautechniken angewendet, wobei
den ureigenen Charakteristiken der autochthonen
Reben immer höchster Respekt gezollt
wird. Bei allen Weinsorten werden nicht
nur die Eigenschaften der Rebe hervorgehoben
sondern auch die des Herkunftsgebiets.
In den historischen Kellergewölben herrschen
optimale Temperatur- und Feuchtigkeitsbedingungen,
die dicken Gemäuer aus
Langhe-Felsblöcken bilden ideale Rahmenbedingungen
für die slawischen Eichenfässer und
die zum Ausbau zur Ruhe gelegten Flaschen.
Hier also entstehen der erfrischend fruchtige
Arneis, der Dolcetto, der finessereiche, elegante
Barbera d’Alba und natürlich der legendäre
Barolo aus den Spitzenlagen Rocche
dell’Annunziata und Bricco Francesco. Die
Weine erfreuen sich auch aufgrund der
früheren Trinkreife grosser Beliebtheit, haben
dabei aber dennoch Potential für eine
mehrjährige Lagerung.
50 | views magazine
roCChe Costamagna, la morra
Wines from the rocche Costamagna estate in La morra benefit
from the interplay of three unique advantages: an enviable geo-
graphic location; the loving care with which they are tended in the vineyards;
and the decades of experience amassed by the cellarer. The soil in
La Morra is like that in Barbaresco, storing water perfectly for roots that
go down between three and five meters deep. The result? Delicately fruity
wines that contain soft tannins and exude refined elegance.
In the local vernacular, a «rocche» is a hilly landscape. In this case,
the epithet designates a very special wine-growing region: «Rocche
dell‘Annunziata», the family‘s historic cru. This patch of land also accommodates
six of the company‘s 14 hectares of vineyards. «Costamagna» is
the name of the vine-growing family in La Morra
that has produced and sold quality wines
for over a hundred and sixty years.
Alessandro Locatelli runs the show today,
ably assisted by agricultural scientist Gian
Piero Romana and enologist Giuseppe Caviola.
The Rocche Costamagna winery uses
state-of-the-art viticultural technology. At
the same time, it always treats the intrinsic
properties of autochthonous vines with the
utmost respect. Every wine produced here reflects
the characteristic attributes not only of
the vine itself, but also of the region.
The temperature and humidity in the
historic vaulted cellars is perfect. Thick walls
hewn from Langhe rock and stone provide
ideal conditions for both the Slavic
oak barrels and the bottles set aside to
mature.
This, then, is the provenance of the
refreshingly fruity Arneis, the Dolcetto,
the fine, elegant Barbera d‘Alba and, of
course, the legendary Barolo from the
fabled slopes of Rocche dell’Annunziata
and Bricco Francesco. While early maturity
has doubtless helped these wines
to tremendous popularity, they certainly
have «upside potential» when laid aside for
several years.

10. August 2010 – Ein historisches Datum
für Baur au Lac Wein. Nach jahrelanger Planung
erfolgte der Spatenstich für den neuen
Hauptsitz an der Althardstrasse 190 in Regensdorf
bei Zürich.
Seit über einem Jahrhundert gilt Baur au
Lac Wein als eines der führenden Weinhandelshäuser
der Schweiz. Neben Privatkunden
verlassen sich ausgewählte Fachhändler und
unzählige Gastronomiebetriebe auf die kompromisslose
Qualität der Produkte, wie auf die
kompetente Beratung und die massgeschneiderten Dienstleistungen.
Nach mehr als zwei Jahrzehnten am alten Stammsitz in Urdorf waren die
Kapazitäten erschöpft und es wurde zu eng für die etwa 700‘000 Flaschen,
welche hier ständig auf Lager liegen. Mit dem neuen Gebäude wird die
Lagerkapazität nahezu verdoppelt, hinzu kommt ein speziell für Raritäten
ausgerichteter Keller und die neue grosszügige Vinothek. Der Neubau ist
indes nicht nur grösser, auch die Arbeitsabläufe wurden logistisch optimiert,
um künftig noch schneller und kostengünstiger auf die Wünsche
der Kunden reagieren zu können; den Designern und Innenausstattern ist
ein grosser Wurf gelungen.
Das traditionsreiche Credo bleibt in den neuen Räumlichkeiten indes
unumstösslich: Im Vordergrund steht der Wein.
on the moVe
Fingerring | Stier | Collier
Entworfen und hergestellt in den Ateliers von Meister Zürich
august 10, 2010 – a historic date for
the Baur au Lac wine store: After years of
planning, the ground was finally broken for
a new set of headquarters at Althardstrasse
190 in Regensdorf, near Zurich.
For over a century, Baur au Lac Wein (the
hotel‘s own wine store) has been regarded
as one of Switzerland‘s leading wine merchants.
Alongside private clients, selected
resellers and countless restaurants too have
come to trust in the uncompromising quality
of its products, the excellent advice of its staff and its impressive array of
made-to-measure services. After more than two decades based in Urdorf,
however, the limits of its capacity had been reached. There was quite simply
not enough room for the 700,000 or so bottles that are routinely stored
here. The new home will practically double the available capacity, as well
as adding a cellar designed specially for rare wines and a generously dimensioned
wine shop. Besides adding space, the new facility will also feature
optimized logistical processes, enabling it to respond even faster and
more cost-effectively to customers‘ requests. It is fair to say that the architects
and interior designers have accomplished a tremendous feat.
Even on the new premises, however, the store‘s traditional credo remains
immutable: Top priority always goes to the wine itself.
Silber & Tafelkultur, Augustinergasse 17, 8001 Zürich, Tel. 044 221 27 30, www.meistersilber.ch
Juwelen, Bahnhofstrasse 33, 8001 Zürich, Tel. 044 221 27 27, www.meister.ch
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sunshine’s
art facts by
Penning a spread about the executive director of any museum is always going to be a
tall order. However, trying to write about no fewer than four of the species from three
major New York landmarks is a formidable challenge and unique privilege indeed.
Here, then, is my attempt to do verbal justice to the dexterity of Glenn D. Lowry from
the Museum of Modern Art; Yoshio Taniguchi, the architect of the redesigned MoMA;
Thomas P. Campbell of the Metropolitan Museum; and Lisa Philipps of the New Museum.
PHOTO: LINA BERTUCCI
52 | views magazine
y
Gigi O. Kracht
LISA PHILLIPS – the guts behind the New Museum
Just before the summer solstice of 2010, Lisa Phillips, Director of the New Museum at 235 Bowery
Street in Manhattan’s Lower East Side, treated me to a private showing of her precious bijou:
the USD 64 million construction project for which she was visionary and nursemaid, master of
finances and doorknob inspector, all rolled into one! In office since 1999, Phillips is only the second
person to occupy the post of director in the museum’s 30-year history. Over those three decades,
the New Museum has grown from humble beginnings as a startup in a one-room office on Hudson
Street, to a gallery space in the New School, to expansion and relocation to SoHo in 1983 and,
finally, to the inauguration of its very own seven-story building in 2007, the latter fittingly designed
by acclaimed architects Kazuyo Sejima and Ryue Nishizawa of the Japanese SANAA practice.
«The museum was conceived as a sculptural stack of rectilinear boxes shifted off-axis around a
central steel core,» Lisa explained. This approach has produced a variety of fluid, light-filled spaces,
each with a completely unique character. In the core of the building are three floors of column-free
galleries, each distinguishable by a different ceiling height and whose skylights create separate
setbacks at the intersection of stories. The ground floor of the facility, the Marcia Tucker Hall, includes
a glass-walled gallery, a youthful, almost student-like café and the New Museum Store. The
building also boasts a 182-seat theater for performances and events, a well-equipped fifth-floor Education Center and
a top-floor Sky Room for public and private functions. The use of industrial materials is in keeping with the commercial
character of the Bowery, and SANAA has crafted them in a way that is at once beautiful and harsh, gritty and elegant.
There is a deliberate openness to the glass storefronted building, a desire for structural transparency that leaves the
building’s materials – from the steel to the ductwork to the freight coming in and out of the loading bay – plain for all
to see. The exterior is clad in a seamless, anodized aluminum mesh which, as Phillips stresses, emphasizes the volume
of the boxes while giving the entire building a delicate, soft form, a form both fluid and dynamic, one that is animated
by the changing light of the Manhattan skies. What better metaphor could there be for the ever-changing nature of
contemporary art?
Founded by former Whitney Museum curator Marcia Tucker in 1977, who neither had financial backing nor a massive

PHOTO: DEAN KAUFMANN
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collection of her own, the New Museum’s vision is to champion the works of contemporary artists hitherto disregarded
by other institutions. Many of the most exciting innovations in today’s art world cross the boundaries that have traditionally
divided different genres and art forms. Lisa Phillips, who for many years also served as curator at the Whitney Museum,
explains her stance on this issue: «We recognize how important collaborative practice has become, and we are eager
to extend and support it. Contemporary art has become increasingly interdisciplinary. To this end, the New Museum
offers immense opportunity for the innovative new artist with a wide spectrum of mediums, i.e. to pursue digital media,
drawing, painting, photography, printmaking, sculpture, installation, performance and video art.» Exhibitions in recent
years have included the work of impresario Malcolm McLaren, musician Fela Anikulapo Kuti and artist and filmmaker
John Waters (the latter curated by Phillips at the museum’s former base on Broadway). At first glance, Phillips, now in her
early 50s, appears an unlikely successor to the radical and polarizing Tucker. A native of New York, raised in Brooklyn, the
daughter of Warren Phillips, a long-serving chairman of Dow Jones and reporter for the Wall Street Journal, Lisa Phillips
is tall, elegant, softly-spoken blonde. At second glance, however, she exudes an unmistakable aura of will and purpose.
The 20-odd years she spent at the Whitney, where she first arrived as a summer intern preparing her doctorate at CUNY,
revealed her strong pioneering streak. She has presided over no fewer than six biennials and was the first curator to put
together major American shows for such artists as Richard Prince and Cindy Sherman. Her tastes lean toward creating
exhibitions that place art in the context of social history, rather than pure esthetics. Accordingly, her shows often turn
out to be right on the pulse, kindling widespread popular appeal. «From an artist’s point of view, she always felt like a
comrade in the activity,» says Jeff Koons. «I think artists have always related to Lisa in that way, that they have absolutely
mutual interests about what art can be and what it can bring to our lives!»
Phillips is married to film producer Leon Falk, with whom she has twin daughters. She seems to have developed the
qualities of a «stealth director»: Quietly and with a minimum of fuss, she has pulled off one of the city’s most spectacular
artistic and architectural feats of the decade. Right now, she is breathing new life into a forgotten corner of the art
world. Her choice of site in an area better known for flophouses and industrial kitchen stores than world-class culture
– definitely more grunge than Bohemia – now looks strikingly prescient, as a new crop of glossy hotels, restaurants and
condominiums has helped revitalize the Lower East Side. The idea of putting a museum in precisely this neighborhood
was a stroke of genius. Phillips certainly has a fair wind at her back; and there are great expectations for the future as she
continues to create an innovative moment in New York art history. Though her work is taxing and her days are long – often
keeping her at the office till two in the morning – she clearly relishes the challenge. «We don’t want to be a miniature
version of the bigger museums,» she says with a shy laugh. «That doesn’t seem interesting or right. We want to be a place
that encourages opinions and different points of views. You know, love it, hate it, but don’t miss it!»
Keep up the excellent work, Lisa!
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GLenn D. Lowry – the seed of art and architecture
In 2009, when I first met Glenn D. Lowry at his spacious, impressive office at the Museum of Modern Art
(MoMA) on 53rd Street in New York, the museum was marking the eightieth anniversary of its founding in
1929. Just a couple of years earlier, its redesigned and redimensioned cool granite and glass fortress – the
work of fabled Japanese architect Yoshio Taniguchi – had opened too, so there was another reason to celebrate.
Milestones such as these are necessary to light a spark in our minds regarding the future of the institution.
Needless to say, the museum has witnessed any number of tumultuous global events: the invasions
of Afghanistan and Iraq, the rise of China and India as major economic, cultural and artistic powers, and the
worldwide recession that began in 2007, to name but a few. New York City itself has felt the full force of both
the stock market crash and the bursting of the US real estate bubble, not to mention suffering an unprecedented
terrorist attack. Under the golden baton of Mr. Lowry – the museum’s sixth director since 1995,
incidentally – the MoMA has nevertheless completed the largest expansion project in its history. After this
mammoth undertaking, the museum reopened on November 20, 2004 – and has since braved the front lines
and experienced success beyond its wildest dreams, setting the standard for all other museums of twentieth
century art. Since it was renovated, the building has taken on a lightness that gives viewers the impression of
existing in an ethereal environment during the presentation of Richard Serra’s gigantic works or Lucian Freud’s
The Painter’s Etching, for example. Colored as our perspective is by hindsight, it is impossible to grasp just how

old an experiment the initial inception of the institution was. It
was definitely an adventure into uncharted territory, yet one that
has clearly paid handsome dividends in every respect.
Lowry believes the fundamental concept of the museum
as a disruptive institution is embedded in its very DNA. At the time
of its founding, most museums were either not interested in modern
art or not equipped to deal with it. The arrival of the Museum
of Modern Art did more than just disrupt an old order, then. It was
an entirely new kind of museum, using a different architectural
language, appealing to a new and different audience, relating to
the city in a new way, and behaving altogether differently. Lowry
describes how the fledgling museum proposed not only to limit
its collection to works to artists from the 19th and 20th centuries,
but also to push back the boundaries of art to include modern disciplines
unrecognized by other museums. Photography and film,
paintings and sculptures, architecture and design (both domestic
and industrial), all were suddenly welcome. Undoubtedly, one of
Lowry’s major achievements in recent years has been his role in
overseeing the USD 900 million capital campaign that had the
MoMA renovated from top to toe, expanded and freshly endowed,
while further broadening its program of contemporary art.
Handsomely elegant, Glenn Lowry, a native of New York, was
born in 1954 and raised in Williamstown, Massachusetts. He received
his Bachelor of Arts Degree in 1976 magna cum laude from
Williams College. He then pursued his M.A. and PhD studies in
art history at Harvard University. Clearly, this is a path not trod by
everyone! Contemporary arts being one of his fortes, Lowry, together
with former director Alanna Heiss, advocated the merger
of the MoMA with the Queens P.S.1 Contemporary Art Center. This
venture too should provide inspiration and fuel creativity among
both the young and established artists of our day. The P.S.1 operates
on a different level of granularity to the MoMA, developing
exhibitions in a matter of months (as opposed to the MoMA’s three- to five-year horizon) and adopting a consciously
risky, speculative stance. Its exhibitions and programs amplify those of the MoMA, often introducing artists to a New York
public and serving as an incubator for issues and ideas that are then taken up by the Museum of Modern Art itself. Lowry
explained to me that his commitment to contemporary art took on an even more concrete form when he established a
fund for the 21st century whose main function is, well, quite unusual, to say the least. When I asked what his criteria are
for choosing perfect art, he replied, «To begin with, it should not be more than five years old!»
Lowry sits on the boards of several associations, including the Association of Art Museum Directors and the Donald
Judd Foundation. He also serves on the advisory council of the Department of Art History & Archaeology at Columbia
University, as well as being part of the Steering Committee for the Aga Khan Award for Architecture. In 2004, the French
government honored him with the title of Officier dans l’Ordre des Arts et des lettres, a title he humbly prefers to keep to
himself. A scholar of the Islamic arts and architecture, he served as Director of the Art Gallery of Ontario from 1990-1995
before taking up his present job with the MoMA. Other items on his résumé include stints as Curator of Eastern Art at the
Smithsonian Institution’s Arthur M. Sackler Gallery and at the Freer Gallery of Art.
On Lowry’s watch, the museum has resolved not only to preside over the world’s most preeminent collection of 20th
century art, but also to have the best building to display it in, to draw the finest and most enthusiastic crowds, and to
continue growing in terms of art holdings, square feet and financial assets for a long time to come! Long-time directors
may have raised their eyebrows at Glenn Lowry’s vision. So far, however, he has pulled it off to great accolade and with
equally great aplomb. Bravo, Glenn!
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The Redesigning of the Museum of Modern Art by
yoshio Taniguchi
The new Museum of Modern Art – the first building Japanese architect Yoshio Taniguchi
ever designed outside his native country – has more than doubled the museum’s
gallery space, altered its configuration, lengthened its garden, added an atrium and
showcased contemporary art with an astonishing sense of completeness. Taniguchi’s
redesign, consummated in November of 2004, endeavored to solve the museum’s spatial
problems by creating a physical and intellectual platform that prevented it from
becoming what one artist in 1990 called a «safety deposit box for its collectors.» The architect
succeeded admirably in this task by taking advantage of the museum’s unique
location in midtown Manhattan. Windows and skylights were used extensively to let
both light and life flood in, allowing the museum to reach out beyond its own walls.
Taniguchi did away with the traditional white-cube gallery space, instead creating a series
of areas more conducive to displays of contemporary art – and, thanks to multiple
entrances and exits, more welcoming to visitors too. The galleries on the second floor clearly withstand unprecedented
loads. Configurations with or without walls are now available, with a soaring atrium in the center that both links and
partitions the seven functional units. Perhaps the most dramatic exhibitions held in the new facility to date have been
those involving contemporary artists such as Danish-Icelandic artist Olafur Eliasson, Swiss artist Pipilotti Rist and Richard
Serra, to name but a few. Each of these artists has consciously sought to integrate Taniguchi’s building itself into their
presentation of art, enabling art and the very city that surrounds it to become inextricably intertwined.
Meeting Yoshio Taniguchi in 2010 proved to be quite a revelation. Tall, poised and perfectly assured, he began by
sharing a little of his background with me. He was born in Japan in 1937, the son of Yoshiro Taniguchi, a well-known
architect in his own right. The elder Taniguchi belonged to the first wave of modernist architects in Japan, who believed
that creating structures with clear design lines and an absence of extraneous detail was of paramount importance. The
family lived in Tokyo; and as a young man Taniguchi studied at Keio University, the city’s oldest and most prestigious
institute of higher learning, where he earned his mechanical engineering degree in 1960. From there, he went straight to
the Graduate School of Design at Harvard University, receiving a degree in architecture in 1964. Taniguchi was one of the
first Japanese architects of the postwar generation to receive his architectural education outside Japan. I am not sure exactly
how the three and a half years he spent at Harvard affected his outlook. However, the way in which his works have
subsequently evolved and his rigorous attention to detail make it clear that his thinking and the fruit of his labors are far
removed from, say Mediterranean or Germanic influences. It would only be natural for his knowledge of and interest in
the engineering aspects of architecture to play a part in his designs; and it seems reasonable to assume that his father’s
interest in early European modernism during Taniguchi’s youth may have planted a seed that has since borne ample fruit
in his son’s undertakings. The architect’s works pay considerable attention to the use of primary elements such as walls,
slabs and stones. Characteristically, these elements are deployed in rhythmical, flowing or static patterns, or in undulating
sequences that bend the line of vision. One is struck by the skilful dramatization of experiential elements that appeal
to the senses: the way in which the next space is anticipated and signaled, for example. For all that, however, Taniguchi’s
works remain shot through with a traditional Japanese understanding.
Yoshio Taniguchi worked briefly in the studio of Walter Gropius, one of the founding fathers of architectural modernism.
Back in Japan, he spent eight years working for another giant, Kenzo Tange, perhaps Japan’s foremost modernist
architect. The years Taniguchi spent here were the period when Tange’s office was seeing the Tokyo Olympic complex
and St. Mary’s Cathedral to completion. He also worked on projects in Skopje, (then) Yugoslavia, and San Francisco, California,
living on Telegraph Avenue in Berkeley during the latter deployment. He would later go on to collaborate with
Isamu Noguchi and American landscape architect Peter Walker. By 1975, Taniguchi had boldly opened his own practice
and begun taking on design jobs for libraries, institutions and other public buildings. Fundamental conviction caused
him to set a limit on the number of projects his firm accepted, so that he would best be able to personally oversee the
details. He later confided to me that he thought of himself as the «doyen of the group» and liked the idea of spreading
his own idealism to his younger associates.
In the 1980s and 1990s, Taniguchi rose to prominence as one of Japan’s leading museum architects. He famous-

ly designed a number of Japanese museums, including the Nagano Prefectural Museum, the Marugame Genichiro-
Inokuma Museum of Contemporary Art, Tje Toyota Municipal Museum of Art and the Gallery of Horju-ji Treasures at
the Tokyo National Museum. Other proud works include the Shiseido Museum of Art and the Tokyo National Museum’s
Gallery of Horyuji Treasures. Yet it was his design for a less austere site – the Tokyo Sea Life Park – that drew the greatest
accolades. Taniguchi’s buildings have a solid but cool minimalism to them. He prefers to let the wood or stone
itself convey the building’s esthetic beauty. As he rightly says: «In my generation, a lot of architects give prominence
to design. I manage to conceal details.» When he took part in the design competition for the Museum of Modern Art
expansion project, he told the MoMA trustees in all earnest that, if they were to raise a lot of money for the project,
he would deliver very good architecture. However, if they were to raise lots more money, he would make the archi-
tecture disappear!
Taniguchi then presented them a model that featured glass, aluminum and black slate. Fearing his presentation
would be rejected, however, he made a rather hasty exit and, out of sheer frustration, headed for the nearest watering
hole! His misgivings proved unfounded, however, and in late 1997 he became the architect of choice for the
MoMA project, beating ten other internationally acclaimed architects – people of the caliber of the Netherlands’ Rem
Koolhaas, Bernard Tschumi and Swiss architects Jacques Herzog and Pierre de Meuron. «Life presents surprises in
various boxes and we have to wait graciously for them to be handed to us!» Taniguchi told me with a quiet chuckle.
Some regard his style as overly corporate, ill-suited to a museum. For others, however, Taniguchi has created nothing
short of architectural perfection! Take, for instance, the famous verdict by Alfred Barr, the museum’s founding director:
«The museum is a torpedo moving through time which, as it rockets forward, leaves history in its wake.»
My thanks go to you, Yoshio Taniguchi, for making this all possible!
Thomas P. Campbell – Director and CEO
of the Metropolitan Museum of Art
In September 2008, the Metropolitan Museum of Art announced that Thomas
P. Campbell, a highly accomplished curator from Oxford, England, whose specialty is
European tapestry, had been elected its next director, succeeding the legendary Philippe
de Montebello, who had led the museum for 31 years.
Tom Campbell was born in Singapore and raised in Cambridge, England. He re-
ceived his Bachelor of Arts degree in English language and literature from the University
of Oxford in 1984, followed by a diploma from Christie’s Fine and Decorative Arts course,
London, in 1985. While studying for his Master’s degree at the Courtauld Institute of Art
(1987), he realized the extent to which mainstream art history had overlooked the major
role tapestries have played in European art and propaganda. Thereupon, he spent seven
years working hard to rectify this omission by creating the Franses Tapestry Archive in
London, which, with more than 120,000 images, is the largest and most up-to-date information
resource on European tapestries and figurative textiles in the world. His early
research culminated in several ground-breaking articles and a Ph.D. from the Courtauld
Institute (1999) on the art and culture of King Henry VIII’s court.
Campbell has spent 14 years in the Metropolitan Museum’s Department of European
Sculpture and Decorative Arts, rising through the ranks as Assistant Curator (1995-97),
Associate Curator (1997-2003) and Curator (2003 to the present). During this time, he
conceived and organized the major exhibitions Tapestry in the Renaissance: Art and
Magnificence (2002) and Tapestry in the Baroque: Threads of Splendor (New York, 2007;
Palacio Real, Madrid, spring 2008), both of which incorporated drawings, paintings and
prints, as well as actual tapestries, and drew immense worldwide acclaim. The 2002
exhibition was named «Exhibition of the Year» by Apollo magazine, and its catalogue
won the Alfred H. Barr, Jr. Award (College Art Association) for distinguished exhibition
catalogues in the history of art (2003). Campbell was also responsible for adding to the
museum’s stock of European textiles, including the acquisition of extremely rare tapes-
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58 | views magazine
tries and woven silks. Selecting and overseeing the rotation of textiles in the galleries of the Department of European
Sculpture and Decorative Arts was likewise part of his remit.
Since shortly after his arrival at the museum, Campbell has also served as Supervising Curator for the Antonio Ratti
Textile Center, which houses the museum’s encyclopedic collection of 36,000 textiles and is one of the preeminent centers
of textile studies in the world. In this capacity, he is responsible for all administrative aspects, including supervision
and implementation of the new center; close collaboration with the 10 curatorial departments whose holdings include
textiles; an advisory role in the development of the online collections management system, which now includes more
than 42,000 images and is the largest public-domain textile database in the world; the design and development of an
image database devoted to Western European tapestry, funded by the Samuel H. Kress Foundation and other sources;
and hosting and mentoring international textile scholars within the Museum’s fellowship program.
He has lectured and taught extensively, both to scholars and the general public, at institutions and museums in the
United States and abroad, on European court patronage and the relationship between tapestries and the other arts.
He has also published extensively on the subject of historic European textiles and their relationship to other art forms
in their respective periods. His most recent book is entitled Henry VIII and the Art of Majesty: Tapestries at the Tudor
Court (Yale University Press, 2007). Campbell has also published articles in leading scholarly journals such as Burlington
Magazine, Apollo, Studies in the Decorative Arts and Gazette des Beaux-Arts. He has received numerous awards and
fellowships, including the Iris Foundation Award (from the Bard Graduate Center) for a scholar in mid-career deserving
of recognition for outstanding contributions to the study of the decorative arts (2003). As if that were not enough, he
has also been actively involved in a wide range of advisory committees relating to the mission and administration of
the museum.
The Metropolitan Museum of Art is one the largest art museums in the Western Hemisphere and the world’s most
encyclopedic art museum under one roof. Founded in 1870, its permanent collections, housed in 17 curatorial departments,
today embrace more than two million works of art spanning 5,000 years of world culture, from prehistory to the
present, from every part of the globe, covering all artistic media – all on the highest level of creative excellence.
Mr. Campbell lives with his two children in Westchester County, New York.

Conversations with DonALD BAeCHLer
«Geographical paintings,» Donald Baechler sometimes calls his work, «paintings with origins in other
places, in someone else’s history.» Superimposing associations with foreign cultures onto his paintings, Donald
Baechler does not focus on content or style, but rather seeks to evoke an attitude! «I don’t understand
my paintings,» the artist confesses openly. «It’s not an ideal world. It’s never a world that is full of much of
anything. The faces, the flowers, the characters. Perhaps they are a kind of diagram of isolation, in a way.
It’s like a child locked in a room with one toy.» Thus began my series of conversations with this gentle yet
brilliant individual.
Baechler was born in Hartford, Connecticut, on November 22, 1956. From 1974 to 1977, he studied at the
Maryland Institute of Art in Baltimore, followed by further periods of study at the Cooper Union, New York,
in 1977-78 and at the Städelschule in Frankfurt/Main in 1978-79. He lives and works in New York City. His extensive
portfolio includes paintings, drawings and sculptures that I personally adore. Especially in his many
prints and engravings, Baechler has, with characteristic wit and humor, created a metaphorical language of a
popular culture that has gained him a widely held reputation – almost at the same time as Keith Haring and
Jean-Michel Basquiat – as a second-generation pop artist. Technical versatility is what sets Baechler apart.
In his choice of subjects, he follows a set repertoire, returning repeatedly to specific motifs, but rendering
them in an array of techniques and materials. He treats drawings, paintings and sculpture as independent,
self-contained genres. Baechler works with formal principles filtered out of what he calls collective memory.
Tulips and playing cards, the repeated representation of a fir tree, a potted plant in a childlike formal language…
These are just a few examples of Baechler’s motifs.
His imagination has a history, as yet unwritten, and it has a geography, as yet only dimly visible. There is
no need to describe his studio: the artist’s consciously self-effacing circumstances seem utterly irrelevant.
The very act of creating a painting is kept at arm’s length. You will seldom find Baechler without a pad and a
felt-tip pen, however. At the end of any given evening, he thus returns with pockets full of crude, hastily jotted
sketches. Intriguingly, the artist would seem almost to prefer that other non-artist friends make drawings for
him. «I try to get outside myself as much as possible, outside my habits. I’m interested in different ways of putting
lines together, ways that would never occur to me, that have nothing to do with my own nature, inclination
or training.» Baechler looks for ideas and stimulus outside his own level of perception, looking for inspiration to
his collection of books of Art Brut, children’s drawings, art of the insane, even scrawls on latrine walls – images
alien to all educated tradition. Though he never seeks to portrait his subjects (actually preferring to avoid doing
so), Donald Baechler’s paintings often revolve around one solitary individual, perhaps a surrogate for the artist
himself, set adrift in an intentionally vague, if not enigmatic then certainly unexplained relationship to another
object or objects: an emblematic globe, a ball, a gyroscope, a candle, sometimes the cut-out profile of a tree or
a flower. «Reduced circumstances, to say the least. There is never an intention of likeness,» in his own words.
His work has more to do with setting a stage than depicting a scene, a stage on which the artist’s lexicon
of images makes its appearance. Even so, Baechler openly avows his love of minimalism and of the
conceptual practices of the 1970s. «I have never rejected anything.»
Donald Baechler’s international success is rooted in his very distinctive artistic expression and, as
we saw earlier, his technical versatility. In his latest works, he concentrates on a small number of symbolic
motifs which he features in various forms taken from differing contexts. He uses motifs such as flowers
or fir trees and transforms them using different techniques. His artistic expression reflects traditional genre
boundaries and design patterns, which he then subtly undermines with his creations. Each piece of his work demonstrates
an impressively structured openness while successfully performing a delicate balancing act between
shape and color, tactile presence and reduction.
His latest venture with Wes Lang – «Skulls and Shit» – impresses in another way: It takes considerable visual
intelligence to manipulate an image as clichéd as a skull. Yet Baechler has always maintained a keen aptitude for
rendering what he considers commonplace items. Every generation tends to harbor some apocalyptic scenario
unique to its time and to a given place. So it is no surprise to see Baechler’s skulls sporting halos, slowly coming
into focus as a final reminder that commercial prizes are just another vain denial of a shared mortality.
I asked Donald what makes a great artist. His answer was frank, disarming – and hit the nail on the head: «I think
a good artist, in general, is someone who doubts what he’s doing and looks for ways of doing it better and making
it even more interesting.»
I wonder what he’ll do next?
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JENNIFER RUBELL – the driving force behind food art
Should all art installations be made constant and standardized as a general rule? But what if, say,
food were used as the fundamental «raw material»? Native New Yorker Jennifer Rubell’s very own
concept of «food art», which she has been practicing for some ten years now, has been variously
perceived as a total waste, utterly decadent and luxuriously exclusive. Coming from a privileged East
Coast family line which includes the deceased Steve Rubell, creator of the «Studio 54» disco, Jennifer’s
blend of art raised questions and eyebrows galore to begin with. Rubell has indeed created a new kind
of interactive experience that is rarely encountered at museums or art galleries – like encasing desserts
in white balloons that guests have to figure out how to pop. Last December, at the Rubell Family
Collection in Miami during the Art Basel Miami Fair, she explored the meaning of perfection, inviting
guests to play Goldilocks in a room full of porridge and closets of brown sugar. The very essence of her
artistic idiom is to provoke visitors, encouraging them to experience and interact with her food productions. Rigid, authoritarian
systems, she feels, should be beaten back to the point where their basic components become malleable, where their
very raw materials beget new creative potential. And it is in the field of art that the relationship between the two – food and
the participating guest – becomes most vivid. Guests thus revel in the ingenuity of Rubell’s larger-than-life masses of food and
their own 360º engagement in the process.

What is art? What is childhood? What is comfort? These are questions that the
artist seems to be asking in her «Just Right» exhibition at the back of Miami’s Rubell
Family Collection. Rubell creates participatory artwork that features elements
of performance art. Her works are often on a staggering scale that quite literally
arrests the senses. Food and drink are her basic media. Take her installation of 2,000
hard-boiled eggs with a pile of latex gloves nearby to pick them up, for example;
or the 1,521 doughnuts she hung, ready to be eaten, on a free-standing wall at the
Los Angeles Contemporary Museum of Art; or her padded cell «equipped» with
1,800 cones of pink cotton candy; or her ton of ribs with honey dripping on them
from the ceiling. Viewers are encouraged to partake in her creations, transgressing
the traditional boundaries of art institutions where we are taught to stop and hold
back, to view but not to touch.
Rubell, who was born on June 11, 1970, received her Bachelor of Arts Degree
in Art History from Harvard University and subsequently attended the Culinary
Institute of America to learn proper cooking and how to handle food. She wrote
about food in the Miami Herald and Domino magazine and penned a book called
«Real Life Entertaining» before beginning her artistic practice of the essence of
food art. New York can count itself lucky to have such an engaging 40 year-old
single mother with the creativity and perseverance to pursue projects that are
otherwise nowhere to be found within the realm of regular contemporary art. Jennifer
Rubell’s unusual art form may have been ahead of its time. Now, however, it
has definitely arrived!
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PHOTOS: STEVE GIOVINCO
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STeVe GIoVInCo – the art of the lens
Much of contemporary photography and video seems haunted by
the past, by the history of art, by apparitions that are endlessly reanimated
in reproductive mediums, live performances and the virtual world.
Steve Giovinco, a fine-art photographer born on August 31, 1961, in Terrytown,
New York, prefers to document the emotional reverberations of
daily life, specifically focusing on lyrical nightscapes and emotional relations
between couples, portraying himself and others in what amount to
diaristic images. Using ambient light, he takes digital photographs intuitively,
without really knowing what the final outcome will be: whether
they will encapsulate a melancholy longing for an irrecoverable past, or
simply turn out to be a momentary snapshot. As I see it, Giovinco’s photographic
imagery tells stories. In the process, it underscores the unique power
of reproductive media and, as such, reflects the extensive degree to which photography has now been incorporated
in contemporary art.
Following his 1989 graduation as a Master of Fine Arts in Photography at Yale University in New Haven, he was
awarded fellowships to attend Yaddo artist residencies in 2001, 2002 and 2010, and to serve as Artist in Residence at the
Bakery, Westbrook, Maine. Giovinco has also won the coveted Photoworks ‘93 Prize and the Image ‘88 First Prize Award
in Guilford, Connecticut.
Museums that have collected Giovinco’s works include the Museum of Fine Arts in Houston, The Brooklyn Museum
of Art, Yale University Museum of Art, The Butler Institute of American Art, The California Museum of Photography, Winnipeg
Art Gallery and the Lower Art Museum in Miami, Florida. Solo museum exhibitions to date include the California
Museum of Photography, Fotogalerie Wien in Vienna, the VELAN Center in Torino, Italy, and the University of the Arts in
Philadelphia.
Giovinco is represented by Jim Kempner Fine Art in New York, where numerous exhibitions of his works have been
reviewed and published by Art in America. His works have featured in exhibitions both in Europe and North America.
He has also published three books and had his photographs auctioned at Sotheby’s as well as at several benefit events.
As part of the series «The Mystery of Creativity,» filmmaker David McDonald created a brief video covering Giovinco and
his work. Through his photography, Steve Giovinco has established not only a new mode of visual production, but also a
new conception of artwork as a repository of autobiographical, cultural and historical information. Both his nightscapes
and landscapes appear to be a poetic reflection on the inexorable passing of time, highlighting the importance of remembrance
and the force of the uncanny.
Steve Giovinco lives and works in New York City. The photographs that appear here reveal a profound, poetic and
mysterious soul indeed!

MARK DAVIS – «The Legendary Tomato»
On paper, Brooklyn-born Mark Davis’ birthday is June 17, 1949. Get to know him,
however, and you would say he is maybe thirteen-and-a-half at heart!
Mark, or «The Legendary Tomato», as he is now universally known in the contemporary
art world, dabbled in painting as a pre-adolescent, but did not get serious
about his use of art materials until the early 1990s. During the interminable intervening
period, he ventured into a series of other jobs to earn his living. To this day, he
remains on the payroll of the Custom’s House of the US Federal Government – as a
broker awaiting his retirement and pension! When he did return to the art scene,
however, portraits of his dogs were created and abstracted; and a multitude of intense
self-portraits were fused in multilinear poses, an exercise he now sees as a form
a self-examination. Mark Davis reinvented himself as «The Legendary Tomato» and
became known for the glitzy bravado in his red paintings, and for bending the lines
between art and nature in his outsized acrylics and oils. The latter were followed by
landscapes, semi-abstract landscapes and, finally, larger, more abstract works whose
ethereal, visceral style bordered on the spiritual.
Davis has exhibited works in both collective and solo shows in New York, New Jersey,
Pennsylvania, Bogotá (Colombia) and Santiago (Chile). Venues that have hosted
his works include the Clemente Soto Velez Cultural Center, Arts on Sixth, the Leslie-
Lohman Art Foundation, the Bama Galleries, the New Jersey Institute of Technology,
the Cathedral Arts Festival at Grace Van Vorst Church, the Long Island Center of
Photography and The Art Gallery of the Quogue NY Library. His pieces depict highly
ambitious themes that, in technical and material terms, appear almost impossible to
execute. Other of his works use simple everyday materials. At the same time, conceptual
force, narrative brevity, the absence of superfluous elements, insistent references
to artistic practice, a delicate sense of humor, puns and poetry create a singular and
diverse blend strongly tinged with persistence and subtlety in equal parts. Ultimately
his work consists of plotting the most direct line from original idea to execution. For
me, it is difficult to explain the precision and thoroughness of this artist. His work is
the result of a scrupulous and mature commitment that enables him to consider all
relevant formal and conceptual aspects while eliminating any and all redundancy
from his chosen purpose. Among his collectors are an officer at Sotheby’s, a director
of ArtsForum Magazine and a curator of the Chelsea Art Museum. Having won several prestigious awards, including one
from the Artist’s Magazine for his painting «Passion», his works are exhibited in the permanent collection of the Leslie-
Lohman Art Foundation.
On several occasions, Davis has been invited to exhibit at the Long Island Center of Photography for its show in
Hempstead NY at the African American Museum. Philosophizing on the subject of modern art, Davis believes that «All art
is a sheer whiff of communication and their differences in abstraction and realism are false and arbitrary, as are differences
between painting and photography. Therefore, following this theory, paints, canvas, brushes, palette knives, cameras,
computers, film, digital media, etc., are all tools discreetly concocted as a bridge to an artful end.»
He maintains a website at www.legendarytomato.com and also exhibits works at www.bamagalleries.com and www.
artocracy.com. He has a Facebook fanpage called The Legendary Tomato. Take a look at his page and be challenged by
the strength of his discipline and his fantastic dialogues in color!
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LISA Anne FoSTer
– the art of fabric painting
Painting, photography and even more recent media such as
video art have so far largely been relegated to the satellite fairs.
Instead, most of the works on display at Art Basel are collages: assorted
assemblages that juxtapose objects both hand-made and
found for esthetic and conceptual effect. One such art form, «fabric
paintings», is being cultivated by Lisa Anne Foster, a 37 year-old
single mother of two from Long Meadow, Massachusetts.
As a child, Foster whiled away the hours watching her nanny
sew quilts day in, day out. The process became ingrained in her
very being, with the difference that, in Foster’s chosen genre, she
adds quilting fabrics with old patterns from the pre-civil-war era
to the 1930s to her works instead of utilizing oil or acrylic. Her drawings
mostly depict herself in full size, either bare or under wraps
in which viewers are invited to immerse themselves. Some pieces
seem almost thrown together, while others suggest feats of extreme
skill and labor. The effect is of a colorful torrent of a singular
but forceful imagery. This is the Lisa I have come to know over the
past few months.
When I asked what the pictures depicted, Lisa simply explained
how important it is for her «Not to explain away my self-portraits. I
want them to remain a mystery, even to me. I find myself drawn to
the final products, almost entranced by them. At that point, they
are separate from me, they exist on their own and they seem to
know things I do not, perhaps things I myself avoid. I feel almost
like a conduit for them. I let my mind show me images, poses, constructions
of the form. I let my hands find them on the canvas and then fill the lines with the quilting fabrics. It is only
then that I can try to know them. I avoid decoding anywhere in the process, I attempt to have only my unconscious
mind create them. I never plan a comment on, say, an article I have read on violence against women in Congo, or the
blown-out oil pipeline or living conditions in Haiti, or the controversy over the mosque near Ground Zero, or the ancient
statues a collector has decided to repair, or my knee surgery or my childhood. But then I see it is all there. These are the
things I need to make, the things I need out of my head. My work is done out of necessity. I make art on account of the
burden of being human.»
Foster loves her fabrics, which feature old patterns. She loves the texture, the cutting, the large and small pieces. It is
as if the fabrics are a thicker form of skin! «I make shapes on a canvas, but my shapes are portraits and my paints are reproduction
quilting fabrics,» the artists adds. «My work are not collages. I want the meaning unclear and bendable. I never
want the viewer to feel done with it. I am specimen, I am spectacle, I am object, but at the same time, I am not, too!»
Foster’s work is about color, pattern and texture, at once specifically visual and visceral. Both forms and abstraction are
her main focus: She attempts to reconcile the two in her work. Although she considers her art «paintings», the ultimate
process is very un-painterly in that it is neither fluid nor adjustable. Every piece of fabric applied is almost immediately
fixed. There are no adjustments to be made and every figure is in effect stuck.
As Lisa Anne Foster herself puts it: «Art and human beings are mostly the things before, beyond and between the
words. I hope this is what you find in my portraits, all the above is merely a curtain for that.» Thank you, Lisa!

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Black power
and the music of
dead white men
Marcus Bleasdale portraitiert das Orchestre Symphonique Kimbanguiste in Kinshasa
Moving pictures: Marcus Bleasdale portraits the Orchestre Symphonique Kimbangiste in Kinshasa
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«DIESE MENSCHEN ERHEBEN SICH
AUS DER HöLLE, DIE DAS HEUTIGE
KINSHASA FüR VIELE SEINER BEWOHNER
DARSTELLT. ES WAR DIE BERüHRENDSTE
STORy, DIE ICH BISLANG IN MEINEM
LEBEN BEGLEITEN DURFTE».
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«Als Journalisten werden wir oft kritisiert, stets nur das Negative zu zeigen,
nur die Dinge, die schwer zu verstehen sind, die uns verstört zurücklassen.
Aber ich sehe auch genauso scharf hin, wenn ich etwas Schönes, etwas
Hoffnungsvolles, etwas Wunderbares sehe. Kürzlich konnte ich die Musiker
des «Orchestre Symphonique Kimbanguiste (OSK)» begleiten, deren
Ziel es ist, «black power» mit dem zu kombinieren, was viele ihrer Mitbürger
als «weisse Kultur» bezeichnen würden – in diesem speziellen Fall:
die Musik toter weisser Männer».

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«THESE PEOPLE rISE OuT Of THE HELL THaT
KINSHaSa STILL IS fOr maNy PEOPLE WHO
LIVE THErE. IT‘S THE mOST mOVING STOry
I‘VE EVEr COVErED IN my LIfE.»
Orchestre Symphonique Kimbanguiste
Das «Orchestre Symphonique Kimbanguiste» (OSK) besteht aus 80
Instrumentalisten und 60 Sängerinnen und Sängern. Alle Musiker arbeiten
unentgeltlich und finanzieren ihre Instrumente aus eigenen
Mitteln; so manches Cello wurde auch selbst gebaut, mit Holz vom
Markt und Elektrokabeln für die Saiten, und die Noten werden mühsam
von Hand kopiert. Im Juni letzten Jahres gaben sie endlich ihr
lang ersehntes erstes grosses Open Air-Konzert in Kinshasa. Zur Aufführung
kamen Orffs «Carmina Burana», Händels «Messiahs» und der
vierte Satz von Beethovens Neunter Symphonie. Die 2‘000 Zuhörer
feierten «ihr» Orchester mit stehenden Ovationen.
Marcus Bleasdale gilt als einer der führenden Dokumentar-
Photographen. Um Entscheider und Politiker auf der Welt direkt zu
beeinflussen, stellt er seine Werke vornehmlich in den Zentren der
Macht aus wie dem US Senat, dem Sitz der Vereinten Nationen, dem
französischen Aussenministerium, den britischen Houses of Parliament
und im Noble Peace Center, Oslo.
Bleasdales Arbeiten erscheinen regelmässig in allen wichtigen
internationalen Magazinen, u.a. im New Yorker, The New York Times,
Harper‘s, The Sunday Times Magazine, Stern, Le Monde, TIME Magazine,
Newsweek und National Geographic.
Zu den wichtigsten Auszeichnungen zählen UNICEF Photographer
of the Year Award (2004), Magazine Photographer of the Year
Award, POYi (2005), The Alexia Foundation for World Peace (2005),
The World Press Photo Award (2006) und Photo Book of the Year
Award POYi (2010). über die Demokratische Republik Kongo hat
Bleasdale zwei Bücher veröffentlicht: «One hundred years of Darkness»
(2002) und «The Rape of a Nation» (2009).
St. Kizito Orphanage: Marcus Bleasdale beschränkt sich nicht
auf die reine Reportage, sondern wird auch persönlich aktiv. In Bunia,
im Osten des Kongo unterstützt er das St. Kizito Waisenhaus, das sich
um etwa 100 Kinder kümmert, allesamt Opfer der ethnischen Auseinandersetzungen
und des Verteilungskampfes um die an sich reichlich
vorhandenen Rohstoffe. (www.congochildren.com)
70 | views magazine
«Journalists are often criticized for concentrating only on the negative
things: things that are difficult for us to understand, disturbing things. Yet
I concentrate just as keenly whenever I encounter beautiful things, things
that bring hope, wonderful things.
I was recently privileged to accompany the musicians who make up the
Orchestre Symphonique Kimbanguiste (the Kimbangist Symphony Orchestra,
or OSK), whose avowed aim is to combine ‘black power‘ with
what many of their fellow countrymen would refer to as white culture: the
‘music of dead white men‘, to be precise.»
OrCHESTrE SymPHONIquE KImBaNGuISTE
The Kimbangist Symphony Orchestra (OSK) consists of 80 instrumentalists
and a 60-member choir. Though none of them receive any
money, they pay for their instruments out of their own pockets. Not a
few cellos are do-it-yourself jobs, made of timber bought on the local
market and using electric wiring for strings. Scores are painstakingly
copied by hand. Last June, the orchestra gave its long-awaited first ever
full-scale open-air concert in Kinshasa, performing Orff’s «Carmina
Burana», Händel’s «Messiah» and the fourth movement of Beethoven’s
Ninth Symphony. An audience of some 2,000 celebrated «their» orchestra
with standing ovations.
marCuS BLEaSDaLE is regarded as one of the leading documentary
photographers of our day. To exert a direct influence on the world’s
politicians and decision-makers, he prefers to exhibit his works at
centers of power such as the US Senate, the headquarters of the United
Nations, the French foreign ministry, the British houses of parliament
and the Nobel Peace Center in Oslo.
Bleasdale’s works can regularly be seen in all prominent inter-
national magazines, including New Yorker, The New York Times,
Harper’s, The Sunday Times Magazine, Stern, Le Monde, TIME magazine,
Newsweek and National Geographic.
His «trophy cabinet» boasts major awards such as the UNICEF
Photographer of the Year Award (2004), Magazine Photographer of
the Year Award, POYi (2005), The Alexia Foundation Grant for World
Peace (2005), The World Press Photo Award (2006) and the Photo Book
of the Year Award POYi (2010). Bleasdale has published two books on
the Democratic Republic of Congo: «One Hundred Years of Darkness»
(2002) and «The Rape of a Nation» (2009).
ST. KIZITO OrPHaNaGE: Not content merely to cover stories as a
photo journalist, Marcus Bleasdale rolls his sleeves up and gets personally
involved. In Bunia, east Congo, he supports the St. Kizito Orphanage,
which looks after around 100 children. All the children here are
victims of the ethnic conflicts and the battle for control over the country’s
wealth of natural resources.

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Ohne Stufen geht eS nicht: egal Ob rauf Oder runter, ein einziger tritt Oder eine mit
rOtem läufer belegte marmOrtreppe – bereitS vOr dem eintreten in die bar muSS der
gaSt gewahr werden, daSS er Sich in eine andere Sphäre begibt.
StepS are a muSt. up Or dOwn, juSt the One Or a whOle red-carpeted marble StaircaSe
makeS nO difference. befOre even entering the bar, gueStS muSt underStand that they
are mOving intO a different realm.
Dementsprechend gestaltet sich auch der Eingang selbst: unscheinbar
und geheimnisvoll, ganz im Speak-Easy-Stil der Prohibition,
wie er seit einigen Jahren in den USA wieder zu Ehren kommt:
Je schwerer zu finden, desto reizvoller. Um beispielsweise ins PDT
(«Please don’t tell») im New Yorker
East Village zu gelangen, muss man
in einen kleinen Hot-Dog-Laden eintreten,
dort die Telefonzelle aufsuchen
und dann die richtige Nummer wählen. Erst
jetzt öffnet sich eine Wand und man findet Einlass.
Auf andere Weise exklusiv sind die imposanten,
überdachten Portale der klassischen Hotel Bars,
die dem Eintretenden signalisieren, dass er ohne Geld
und gutes Auftreten hier nichts zu suchen hat.
Nun liegt es am Gast, der sich nicht einschüchtern liess,
zu beurteilen, ob der Laden hält, was das Entrée verspricht. Zu
allererst müssen die Proportionen stimmen. Nur wenn die Grösse
des Raums, das Verhältnis von Grundfläche zu Deckenhöhe, sowie
Anzahl und Ausmass des Mobiliars den Eindruck einer quasi natürlichen
Selbstverständlichkeit vermitteln, kann das Gefühl entstehen,
hier gut aufgehoben zu sein. Der Originalitätszwang so manches
Designerfürsten dagegen bescherte uns, insbesondere während der
1980er und 90er Jahre, zu viele Lokale, deren überspanntes Interieur
bestenfalls schaulustige Touristen und zugekokste Selbstdarsteller
anlockt. Wahre «barflies» allerdings, oder gar Stammgäste, die im
Französischen zu Recht «piliers de bar», Säulen der Bar, genannt werden,
finden hier kaum ein Zuhause.
Und darum geht es in erster Linie: Die ideale Bar ist ein Ort der Geborgenheit
für all jene, die mehr suchen als glamouröse Zerstreuung
und den simplen Rausch. Sie ist eine Zuflucht, mitunter auch, wie in
den Romanen von Georges Simenon, der letzte Hafen für jene,
die schon zu viel hinter sich haben, Endstation.
Sie braucht Nischen, bequeme Sitzgelegenhei-
The
essenTial
Bar
TEXT: STEfan Gabányi
Clear rules accordingly govern the design of the entrance too,
which must be inconspicuous, clandestine, along the lines of prohibition-era
speakeasies. For some years now, this format has been coming
back into vogue in the USA. The more difficult bars are to find, the
greater the attraction. Take the PDT
(«Please don’t tell») in New York’s East
Village, for example. To get inside, you
have to go into a hot-dog store, look for
the phone booth and dial the correct number.
Only then does a wall open, granting you access
to the hallowed interior. The imposing, porticoed
gates that guard traditional hotel bars are exclusive
in a different way, sending a clear message to guests
that, without money and manners, they have no business
being here.
It is then up to those guests who refuse to be intimidated to
judge whether the interior lives up to the promise of the exterior.
First and foremost, the right sense of proportion is vital. The size of
the room, the ratio of floor space to ceiling height, the number and
size of the furnishings must intuitively be right. Only then can you really
relax and feel at home. In sharp contrast, so many design moguls’
compulsion to be different – especially in the 1980s and 1990s
– has left us a legacy of too many bars whose quixotic interiors could
only conceivably appeal to camera-toting tourists and/or decidedly
stoned narcissists. Neither genuine barflies nor respected regulars –
fittingly referred to in French as «piliers de bar», pillars of the bar – will
ever be at their ease in such establishments.
And that, after all, is what it is all about. The essential bar is a
safe haven for all who seek more than glamorous amusement and
plain inebriation. It is a place of refuge. In some cases, as in Georges
Simenon’s novels, it is the terminus, the last stop for those who
have reached the end of the line. It needs niches and
alcoves, comfy seats, soft leather, fabrics that are

... den klang vOn eiSwürfeln
in Shakern und gläSern,
kOSmOpOlitiScheS Stimmengewirr,
«die leichte muSik deS in die
gläSer fallenden whiSkyS»
... the randOm percuSSiOn Of
ice-cubeS in ShakerS and glaSSeS;
the lOw murmur Of cOSmOpOlitan
vOiceS; the «SOft muSic Of whiSkey
being pOured intO glaSSeS»
ten, weiches Leder, anschmiegsame Textilien, dunkles Holz und vor allem
das richtige Licht: Es muss nicht gleich so finster sein, wie in jenen
amerikanischen Bars, wo man einen Blindenhund braucht, um seinen
Platz zu finden; auf keinen Fall aber darf es zu hell sein, selbst Tageslicht
kann störend wirken, denn in der Bar steht die Zeit still und es gibt
weder Tag noch Nacht.
Ein warmes Leuchten ist gefragt, ein Gegengift zum grellen Bürolicht;
unaufdringliche Lichtquellen, die flackernde Reflexe auf Spiegel,
poliertes Messing und gefüllte Gläser werfen. Die Beleuchtung soll,
wie der Alkohol, als Weichzeichner wirken, und die kalte Härte des realen
Lebens ausblenden.
Auch der Lärm der Strasse muss draussen bleiben, um die der Bar
eigene Akustik nicht zu stören – den Klang von Eiswürfeln in Shakern
und Gläsern, kosmopolitisches Stimmengewirr, «die leichte Musik des
in die Gläser fallenden Whiskys» (so James Joyce in «Dubliners»), ein
dezentes Piano im Hintergrund... Tatsächlich hat kaum etwas einen
grösseren Einfluss auf die Atmosphäre eines Lokals, als Musik. Sie kann
Stimmungen anregen, aufheizen oder beruhigen. Ein Bar Pianist, der
diesen Namen verdient, weiss, dass er weniger seiner solistischen
Brillanz als seines Gespürs für die Launen des Publikums wegen bezahlt
wird (aus demselben Grund lässt ein fähiger Barkeeper auch
nicht nur seine Lieblingslieder auf dem iPod laufen).
Für eingefleischte Puristen wie den spanischen Filmgrossmeister
Luis Buñuel war Musik in der Bar allerdings unzulässig, da sie die
Kontemplation, der er sich beim Trinken hingab, stören könnte. Aus
demselben Grunde sollte nach Buñuels Ansicht auch Frauen der Zu-
tritt zu Bars verwehrt bleiben – eine aus heutiger Sicht reichlich vertrocknete
Herrenclub-Attitüde, die noch bis in die 1960er Jahre selbst
in so renommierten Bars wie dem New Yorker Oak Room praktiziert
wurde. Meist ging es hier aber weniger um die von Buñuel gesuchte
nahezu klösterliche Abgeschiedenheit, in der man bei einigen Martini
Cocktails Inspiration findet, als um einen ungestörten Drink zwischen
Büroschluss und Ehe-Alltag.
«Der erste stille Drink des Abends in einer stillen Bar – das ist was
Wundervolles.» Die von Raymond Chandler und vielen anderen verherrlichte
«blue hour» gilt noch immer als die klassische Stunde der
Bar. Es ist die Zeit der Melancholie, der mehr oder weniger geistreichen
Gespräche, vor allem aber die Zeit der Stammgäste. Manche
kommen täglich, sitzen immer am gleichen Platz und bestellen immer
den gleichen Drink; sie sind beunruhigt, wenn das Personal wechselt
und erheben ihre Gewohnheiten zu Ritualen, selbst wenn sie nur Zeitung
lesen oder sich die Übertragungen im Sportskanal anschauen
(nur erzkonservative Bars kommen heute noch ohne TV-Gerät aus –
zumindest läuft es, im Gegensatz zur ordinären Sports Bar, ohne Ton).
Stammgäste bilden eine prekäre Gemeinschaft, in der Freund- und
Feindschaften gewissenhaft gepflegt werden. Vereint mokiert man
sich über die Laufkundschaft, beäugt sich gegenseitig und wacht
eifersüchtig über die Privilegien, die von Wirt und Kellnern gewährt
werden. Die kennen ihren Geschmack («einen Wodka ohne Eis für Max
und einen Martini mit zwei Oliven für Prof. W.»), wissen über familiäre
und finanzielle Nöte Bescheid und tolerieren Spleens und Launen
aller Art. Sie müssen zuhören können und verschwiegen sein, sollten
aber keine Ratschläge erteilen (fungieren also entgegen des Klischees
nicht als Therapeuten). Sie pflegen eine aufmerksame Distanz, denn
jede Form der Kumpanei macht aus der Bar ein gewöhnliches Wirtshaus.
Mitunter müssen sie sogar Erziehungsmassnahmen ergreifen.
Selbst in den USA, wo Dienstleistung grundsätzlich als aufgesetzte,
an Devotheit grenzende Dauerfreundlichkeit verstanden wird, gelten
manche Barkeeper neuerdings als veritable Respektspersonen.
Allen voran Sasha Petraske, Patron im Milk & Honey, einer jener eingangs
erwähnten Speak-Easy-Bars, die man in informierten Kreisen
als «cocktail parlor» kennt. Die New York Times erkor Petraske schon
mal zu einer der 100 wichtigsten Persönlichkeiten der Stadt und
das verdankt er nicht nur seiner innovativen Mixkunst, den selbst
angesetzten Infusionen und Likören und den aus grossen Blöcken
geschnitzten Eiswürfeln, sondern in erster Linie seinem strengen Regiment:
Gruppen von mehr als vier Personen haben keinen Zutritt,
da hilft auch kein VIP-Status; wer fremde Frauen anmacht fliegt
ebenso raus, wie Gäste, die sich zu laut unterhalten oder im
Stehen trinken. Petraskes Erfolg inspirierte zahlreiche Nachahmer
und mittlerweile gibt es Cocktail Parlors, deren Regelwerk
fast so umfangreich ist wie die Getränkekarte: der
Gebrauch von Mobiltelefonen und Blitzlicht ist ebenso wenig gestattet
wie Baseball-Caps oder Kaugummis. Vor allem aber gilt:
«Unterbrechen Sie andere Gäste nicht; wenn Sie hergekommen sind,
um Fremde zu treffen, sind Sie am falschen Ort.» Derartige Vorschriften
sollen all jene ignoranten Angeber und Nervensägen vergraulen,
für die ein gelungener Abend vorzugsweise aus Gejohle und Ge-
baggere besteht und die alles trinken, was weg muss. Aus diesem
Grund bieten manche dieser Cocktail Parlors nicht einmal Wodka
an – Amerikas beliebteste Spirituose –, und nach Red Bull sollte man
besser gar nicht erst fragen.

agreeable to the touch, dark wood and, above all, the right lighting. It
doesn’t have to be as gloomy as those American bars where you need a
guide-dog to find your seat. But on no account must it be too brightly
lit. Even daylight can be a distraction, because, in a bar, time stands
still. Here, there is neither day nor night.
Warm lighting is of the essence, a welcome antidote to the merciless
glare of office lighting; unobtrusive light sources whose reflections
dance and glow in mirrors, polished brass and filled glasses. Like the
alcohol, the lighting too should create a kind of soft focus, taking the
cold, hard edge off real life. The noise of the street must also be kept out
so as not to interfere with the bar’s own acoustic microcosm: the random
percussion of ice-cubes in shakers and glasses; the low murmur
of cosmopolitan voices; the «soft music of whiskey being poured into
glasses», to quote James Joyce in «Dubliners»; a muted piano in the
background… Scarcely anything, indeed, has a greater influence on the
atmosphere of a bar than the music. Music can create moods, amplify
or becalm them. Any bar pianist worthy of the name knows full well
that he is paid less for his solo virtuosity than for his ability to pick up
the guests’ «vibes». (That, incidentally, is also the reason why a capable
barkeeper resists the urge only to play his favorite songs on the iPod.)
Out-and-out purists such as the great Spanish filmmaker Luis Buñuel
would never allow any music in the bar, however, as that would disturb
the contemplation to which they devote themselves while drinking.
On the same grounds, Buñuel held that women too should not be admitted
to bars – an antiquated gentlemen’s club attitude by today’s
standards, yet one that was still upheld as late as the 1960s in such
renowned bars as New York’s Oak Room. At the latter up-market watering
hole, however, the kind of almost monastic seclusion that Buñuel
hoped would breed enlightenment during the solemn consumption of
Martini cocktails was less the issue. On a more down-to-earth level, the
idea was to leave room for a drink in peace and quiet between office
closing time and marital routine.
«The first quiet drink of the evening in a quiet bar – that is something
wonderful.» The blue hour glorified by Raymond Chandler and
many, many others still ranks as the bar’s finest hour. It is a melancholy
hour, a time of more or less witty conversation. Most of all, it is the hour
of the regulars. Some come every day, always sitting in the same place
and always ordering the same drink. Changes of staff unsettle them.
They elevate habit to a form of ritual – even if it only involves reading
the paper or watching live broadcasts on the sports channel. (Only the
most staunchly conservative bars can get by without a TV these days;
or at least they turn the sound down, unlike in «ordinary» sports bars.)
Regulars form a delicately balanced community in which friendships
and enmities are nurtured assiduously. The serried ranks unite in
their mockery of occasional customers, keep each other in check and
watch jealously over the privileges granted by landlord and waiters.
The latter know each regular’s tastes («a vodka without ice for Max and
a Martini with two olives for the Prof»), are fully genned up on family
and financial problems, and tolerate moods and idiosyncrasies of every
kind. They must be good listeners and sworn to confidentiality; yet they
should also hold their counsel (and not, contrary to the popular myth,
serve as makeshift therapists). The personnel keep their courteous but
professional distance. The merest hint of chumminess would, after all,
downgrade the bar to the ranks of a common pub. On occasion, the
staff must even take disciplinary action. Even in the USA, where service
is broadly synonymous with a fawning, artificial friendliness that
verges on subservience, certain barkeepers have lately emerged as figures
of authority in their own right. Topping the list is Sasha Petraske,

«du kannSt einen perfekten
cOcktail mixen, aber wenn
der gaSt ihn nicht mag,
taugt er nichtS».
«yOu can mix a perfect cOcktail.
but if the gueSt dOeSn’t like it,
it iS nO gOOd.»
Hierher kommt man nicht des üblichen Nachtlebensspektakels
wegen, sondern um sich ganz dem Genuss sorgfältig zubereiteter
Cocktails zu widmen. Die Stars stehen hinter der Theke und zelebrieren
ihr Können wie Sterneköche. Neben originellen Eigenkreationen
wie beispielsweise einer Bourbon-Hibiskustee-Infusion mit
Zitronensaft und Eiweiss («Frankfort Rose») werden allenfalls Klassiker
angeboten: Martini, Manhattan, Mojito etc., selbstverständlich nur
mit aus gesuchten Spirituosen der gehobenen Preiskategorie zubereitet.
Zum Knabbern gibt es statt der andernorts üblichen gesalzenen
Mottenkugeln hier mit Honig beträufelte Obstscheiben.
Die Anregungen für diese moderne Version der Cocktail Bar stammen
im Wesentlichen aus Japan. Das von Nachwuchs-Mixologen
in aller Welt heute so geschätzte «japanese bartending» beruht auf
streng ritualisierten, nachgerade meditativen Arbeitsabläufen, die
mit höchster Konzentration auszuführen sind. Eiswürfel werden in
stunden langer Handarbeit geschnitzt und selbst für das Öffnen einer
Flasche gibt es eine bestimmte Technik, desgleichen für das Eingiessen,
Verrühren und Shaken der Zutaten. Diese können westlichen
Rezepten entsprechen oder auch aus europäischen Spirituosen sowie
Tee, Wasabi und anderen asiatischen Aromen kombiniert werden.
All diesem Perfektionismus liegt eine ausgeprägte Demut dem
Gast gegenüber zugrunde, die den langen Weg von Tokio nach New
York wohl nicht überlebt hat. Kazuo Ueda, der Doyen der japanischen
Barkeeperzunft, meint: «Du kannst einen perfekten Cocktail mixen,
aber wenn der Gast ihn nicht mag, taugt er nichts.»
patron of Milk and Honey, one of those speakeasies mentioned at the
outset that knowledgeable insiders refer to as cocktail parlors. The New
York Times has, on occasion, singled out Petraske as one of the city’s
100 most important personalities – a status not solely attributable to
his innovative drink-mixing art, nor to his quirky concoctions of teas
and liqueurs, nor to the ice-cubes he carves out of huge blocks. No, his
strict regime is the primary reason. Access is denied to groups of more
than four people, VIP status or not. Anyone who flirts with a woman
they don’t know gets thrown out, as do guests who talk too loudly or
drink while standing. Petraske’s success has inspired many to copy his
example. Cocktail parlors have sprung up whose rule books are as long
as the drinks lists. The use of mobile phones and flashlights is prohibited,
as is the wearing of baseball caps and the chewing of gum. Two
rules take precedence, however: «Never interrupt other guests; and if
you came here to meet people you don’t know, you’re in the wrong
place.» This kind of prescription is designed to frighten off all the ignorant
posers and assorted nuisances for whom a «fun evening» consists
essentially of noise, philandering and drinking everything they can get
their hands on. For this reason, some cocktail parlors do not even stock
vodka, America’s most popular spirit. And don’t even think about asking
for a Red Bull…
People don’t come here for the usual nightlife excitement; they
come to devote themselves almost religiously to the enjoyment of meticulously
prepared cocktails. The stars are behind the bars, celebrating
their art like so many celebrity chefs. Apart from original creations such
as «Frankfort Rose» (a bourbon-hibiscus tea infusion with lemon juice
and egg white), you will find nothing but classic cocktails: Martinis,
Manhattans, Mojitos and the like – all mixed with choice spirits in the
higher price brackets.
Rather than the salted mothballs one customarily finds at lesser
drinkeries, honeyed fruit slices are set out for guests to nibble. The idea
for this modern variation on the cocktail bar theme comes in the main
from Japan. Japanese bartending, a skill revered by up-and-coming
mixologists the world over, is rooted in strictly ritualized, almost meditative
workflows that must be executed with the utmost concentration.
Hours are spent carving ice-cubes by hand. There is even a special
technique for opening bottles – as there is, of course, for pouring, mixing
and shaking the ingredients. The ingredients themselves can stem
from Western recipes or combine European spirits with tea, wasabi and
other Asian flavors.
All this perfectionism is in turn rooted in a deferential humility with
regard to the guest – a humility which, it appears, did not survive the
long journey from Tokyo to New York. Kazuo Ueda, the dean of the
Japanese barkeeping guild, sums up his ethos: «You can mix a perfect
cocktail. But if the guest doesn’t like it, it is no good.»

Anlegen im «Haus zum Schiff»
Seit Generationen konzentrieren wir uns auf unsere Kernkompetenzen im Private Banking.
Das langfristige Engagement unserer Besitzerfamilie und Mitarbeiter, der Verzicht auf eigene
Produkte und die Transparenz in der Gebührenstruktur sind die Grundlage für eine
unabhängige, erfolgreiche Anlageberatung und Vermögensverwaltung. Dank unserer
Anlagephilosophie «Sicherheit vor Rendite» sowie unserer sehr soliden Kapitalbasis können
Sie sich bei uns von Grund auf sicher fühlen.
Dreikönigstrasse 6 CH-8002 Zürich Telefon +41 44 286 25 25 info@maerki-baumann.ch www.maerki-baumann.ch
views magazine | 77

78 | views magazine

Kaum ein Unternehmen steht so sehr für Stil und Anspruch. Dem
will Ermenegildo Zegna auch intellektuell mit seinem neuen Buch
gerecht werden. International anerkannte Autoren widmen sich den
vier Kapiteln GEIST, HAND, STIL und UMWELT. Diese Gliederung ist
erst dann richtig zu verstehen, wenn man das Vorwort, ein unveröffentlichter
Essay von James Hillman, dem Begründer der archetypischen
Psychologie zum Thema Luxus, gelesen hat. Im Kapitel GEIST schreibt
der Wirtschaftsjournalist und Autor Mariano Maugeri über die Geschichte
der Marke seit der Unternehmensgründung. Unter der überschrift HAND
hat sich D.T. Max vom «New Yorker» der handwerklichen Fertigungsprozesse
angenommen. Suzy Menkes vom «International Herald Tribune»
zeichnet für das Kapitel STIL verantwortlich und über UMWELT spricht
der Künstler Michelangelo Pistoletto mit Anna Zegna, der Vorsitzenden
der Stiftung «Fondazione Zegna».
Jedes Kapitel wird mit Bildern wichtiger Momente der Markengeschichte
illustriert, darunter finden sich Werbekampagnen von Künstlern
wie Nathaniel Goldberg, Mario Testino und Peggy Sirota ebenso wie
Fotografien von Mimmo Jodice oder Mattias Klum. Erschienen ist das
Werk im angesehenen Kunstbuchverlag Skira.
Bookmark
DREI STIL-IKONEN DER FEINEN LEBENSART WüRDIGEN
IHRE JUBILäEN MIT OPULENTEN BILDBäNDEN
THREE OF THE BIGGEST NAMES IN EXQUISITE (LIFE)STYLE
MARK THEIR ANNIVERSARIES WITH OPULENT PICTORIALS
few companies have made themselves so completely
synonymous with authentic style for
the very discerning. In its new book, Ermenegildo
Zegna clearly aims to satisfy similarly high
intellectual standards. Internationally recognized
authors have channeled their thoughts into the
four chapters MIND, HAND, STYLE and ENVI-
RONMENT. Even the structure, however, can only
really be understood when one has digested the
preface, an unpublished essay penned by James
Hillman, founder of the archetypal psychology
of luxury. In the Mind chapter, economic
journalist and author Mariano Maugeri traces
the history of the brand since its inception. D.T. Max, a contributor to the
New Yorker, describes the craftsmanship and production processes that go
into Zegna outfits in the chapter entitled Hand. Suzy Menkes of the International
Herald Tribune wrote the chapter on Style, while artist Michelangelo
Pistoletto talks to Anna Zegna, President of the «Fondazione Zegna»,
in the chapter on the Environment.
Each chapter is illustrated by iconic images of key moments in the history
of the brand. The rich selection includes advertising campaigns produced
by artists such as Nathaniel Goldberg, Mario Testino and Peggy
Sirota and photographs by Mimmo Jodice and Mattias Klum. The book
was published by Skira, a highly respected art publisher.
PuBlisher: sKira
408 Pages
635 color illustrations
isBn: english edition: 978-88-572-0209-9
views magazine | 79

Bookmark
«Chopard – the passion for excellence», erschienen im Te-
Neues Verlag zeichnet den Weg der beiden Unternehmerfamilien
Chopard und Scheufele nach und dokumentiert die
ununterbrochene Geschichte seit der Gründung des Unternehmens
im Jahre 1860 durch Louis-Ulysse Chopard in
Sonvilier. In seinem Vorwort zeigt sich Karl Scheufele stolz,
dass Chopard mit seinen 1‘750 Mitarbeitern auch heute
noch ein inhabergeführtes Unternehmen ist: «Wir schätzen
die Freiheit, nach unseren überzeugungen handeln, Kontinuität
wahren und die persönlichen Beziehungen zu unseren
Kunden und Mit arbeitern erhalten zu können sehr
hoch.» (Karl Scheufele)
80 | views magazine
Die Kunst der Malletiers. Goyard, ältester und prestigereichster
Malletier in Paris, veröffentlicht das erste
Buch über die Kunst des «Koffer-Machens». Seit 1853
fertigt Goyard an der Rue Saint-Honoré bis heute
nach traditionellen Techniken wahre Kunstwerke. Da
nimmt es nicht wunder, dass auch das Buch nicht
gerade günstig zu bekommen ist: 6‘000 EUR muss
der Leser schon auf den Tisch legen. Dafür erhält
er dann aber auch einen handgefertigten Koffer für
das Sammlerstück. Dessen Farbe kann aus 12 unterschiedlichen
Tönen ausgewählt werden, gegen
Aufpreis mit eingearbeiteten Initialen. Die limitierte
und nummerierte Auflage ist ausschliesslich gegen
Bestellung erhältlich.
text: saloMé BroussKy
PhotograPhs: helMut
stelzenBerger
PuBlished By teneues
size: 29 x 36 cM. 296 PP.,
hardcover with JacKet
300 color PhotograPhs
english version
isBn 978-3-8327-9372-2
«Chopard – The Passion for Excellence», published by teNeues, retraces
the steps of the Chopard and Scheufele families, documenting
the uninterrupted history of a company founded in Sonvilier in
1860 by Louis-Ulysse Chopard. In his preface, Karl Scheufele is
clearly proud that Chopard and its 1,750 employees remain
an owner-run company to this day: «We deeply appreciate
the freedom to act according to our convictions,
to preserve continuity and to maintain personal relationships
with our customers and employees.»
(Karl Scheufele)
The art of the Trunk-maker. Goyard, the most venerable and prestigious malletier in Paris, has published
the first ever book devoted exclusively to the art of trunk-making. Upholding traditional skills, Goyard has
been transforming the humble trunk into so many works of art at Rue Saint-Honoré since 1853. So it is
perhaps no surprise that this masterful volume too commands a heady price tag of EUR 6,000, although a
hand-made trunk in which to carry and protect the work is included in the price. Clients can choose from
12 colors for the trunk canvas and, for a small extra charge, even have their initials embossed onto it. The
print run is strictly limited. Each numbered edition is available by special order only.

For every occasion, F or every mood.
e xquisite F ashion F or women & men.
www.saint-phil.com
Homme • Gentlemens-outfittinG
artioli | canali | steFano ricci | Zilli
Bahnhofstrasse 20 • Phone +41 (0)44 211 94 55
femme • Prêt-à-Porter
PiaZZa semPione | iris von arnim | class roBerto cavalli | les coPains | unütZer
Bahnhofstrasse 20 • Phone +41 (0)44 211 79 10
CoCktail & eveninG • Prêt-à-Porter
Bellville sassoon | ella singh | gai mattiolo | talBot runhoF | rodo
Bahnhofstrasse 14 • Phone +41 (0)44 211 40 25
views magazine | 81

Der erste «pure McLaren» setzt neue Massstäbe in puncto
Leistung, effizienz, geräuMigkeit, fahrverhaLten – unD preis
the first «pure McLaren» raises the bar for perforMance,
efficiency, rooMiness – anD Lowers it for price
82 | views magazine

ench
Mark
views magazine | 83

Beim Festival of Speed in Goodwood stellte McLaren im Sommer
letzten Jahres seinen ersten vollständig in den eigenen Hallen und
mit eigenem Know How entwickelten Sportwagen vor.
Jenson Button und Lewis Hamilton hatten die Ehre, den Prototypen
über den Goodwood Hill zu scheuchen. Hand auf’s Herz: Wer träumt
nicht davon, einen Sportwagen zu besitzen, der gleich von zwei Formel 1
Weltmeistern Probe gefahren und abgestimmt wurde, echte Enthusiasten
lassen sich das schon mal eine halbe Million Euro oder mehr kosten.
Eine Preisklasse, in der auch der sehr erfolgreiche, inzwischen nicht mehr
produzierte Mercedes-Benz SLR McLaren angesiedelt war. Der neue
MP4-12C wird ab gerade einmal 200‘000 Euro zu haben sein, da bleibt
noch etwas übrig, um es in die Sonderausstattung zu stecken. Dafür erhält
der Käufer ein geradezu revolutionäres Fahrzeug. McLaren, Erfinder
84 | views magazine
des Carbon-Chassis, hat diese Technik mittlerweile industrialisiert. Dauer-
te die Produktion anfangs noch mehrere tausend Arbeitsstunden pro
Chassis, ist die Carbon «MonoCell» heute in etwa vier Stunden fertig. Bei
der Entwicklung des MP4-12C waren keine Kompromisse erlaubt; jede
einzelne Komponente ist speziell für diesen Wagen designed und es
findet sich kein Teil aus anderen Fahrzeugen oder von anderen Herstellern
– pure McLaren!
Durch die Verwendung von Carbon ist es den Technikern gelungen,
ausserordentliche Leistung mit Effizienz zu vereinen, 600 PS bei weniger
als 300 g/km CO2 waren bislang unerreicht. Die «MonoCell» ermöglicht
darüber hinaus einen sehr geräumigen Fahrgastraum, den man angesichts
der kompakten Dimensionen von aussen so nicht erwarten würde.
Im eigens errichteten neuen Werk im Britischen Woking weht For-

The long-awaited day came at the Goodwood «festival of Speed» in
summer 2010, when mcLaren took the wraps off the first ever sports
car to be developed in its entirety using nothing but the company’s
own expertise and facilities.
Jenson Button and Lewis Hamilton stepped up to do the honors,
slewing the prototype up Goodwood Hill. In all honesty, who wouldn’t
drool at the chance of possessing a sports car test-driven and fine-tuned
by not one but two Formula 1 world champions? Dyed-in-the-wool enthusiasts
have been known to fork out half a million euros and more for
the privilege – roughly the price bracket for the highly successful but now
phased-out Mercedes-Benz SLR McLaren. However, since the new MP4-12C
is a snip at barely 200,000 euros, there should be plenty of small change left
to invest in a few smart extras.
600 ps bei weniger
aLs 300 g/kM co2
600 hp anD Less
than 300 g/kM co2
views magazine | 85

JeDe einzeLne koMponente
ist spezieLL für Diesen
wagen entwickeLt
every Last coMponent
was speciaLLy DesigneD
for this car
McLaren Mp4-12c
PoWertrAin
• engine .......................................... M838T 90° V8 3.8 LITRE
• driVetrAin LAyout ............... LONGITUDINAL MID-ENGINE, RWD
• oiL tAnk .................................................... DRY SUMP
• CoMPression rAtio ............................................. 9.0:1
• VALVetrAin ............................... 32-VALVE, DOHC, FIXED VVT
• FueL/induCtion ................... PORT INJECTION, TURBOCHARGED,
ELECTRONIC THROTTLE
• redLine, rPM ..................................................... 8500
• PoWer .................................... 592BHP / 600 PS @ 7000 RPM
• PeAk torque .................... 600NM / 443 LBS/FT @3000-6500 RPM
(90 PER CENT AVAILABLE FROM 1,900-8,500 RPM)
• PoWer Per disPLACeMent. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 PS / LITRE
• trAnsMission ............. 7- SPEED MCLAREN SEAMLESS SHIFT DUAL
CLUTCH GEARBOX (SSG) WITH PRE-COG FUNCTIONALITY
Body
• WheeLBAse .......................................... 2670 MM / 105.12”
• Length .............................................. 4509 MM / 177.52”
• Width ................................................. 1908 MM / 75.12”
• height ................................................. 1199 MM / 47.2”
• dry Weight ............................. LESS THAN 1300 KG / 2866 LBS
• Weight distriBution ....................... 42.9 / 57.1 FRONT / REAR
PerForMAnCe sPeC (preliminary figures, based on prototype testing)
• 0 – 200 kM/h ...................................... BELOW 10 SECONDS
• 200 – 0 kM/h ........................................ BELOW 5 SECONDS
• 100 – 0 kM/h ................................. BELOW 3 SECONDS / 30 M
LESS THAN 7 AVERAGE VEHICLE LENGTHS
• V-MAX .......................................ABOVE 200 MPH / 320 KM/H
• 1⁄4 MiLe ................................................CA. 11 SECONDS
• Co₂ ................................................... BELOW 300 G/KM
ChAssis
• MAteriAL ......................ONE-PIECE CARBON FIBRE «MONOCELL»
• susPension ............MCLAREN PROACTIVE CHASSIS CONTROL (PCC),
Z-BAR FOR EXTRA HEAVE STIFFNESS
• dAMPing Modes ............................ NORMAL / SPORT / TRACK
• trACtion / LAunCh ControL ..............................YES / YES
• stABiLity ControL Modes .......WINTER / NORMAL / SPORT / TRACK
• BrAkes ...FRONT VENTILATED IRON DISCS: 370MM, 4-PISTON CALLIPERS
REAR VENTILATED IRON DISCS: 350MM, 4-PISTON CALLIPERS
MCLAREN AIRBRAKE
• WheeL siZe, in., F/r ............................... 19‘‘ X 8.5‘‘ / 20‘‘ X 11‘‘
• tyres .................................PIRELLI P ZERO™ (MCLAREN SPEC)
235/35 R19 FRONT, 305/30 R20 REAR
86 | views magazine
mel 1-Luft durch die Hallen, steht doch das McLaren Production Center
(MPC) gleich neben dem sagenumwobenen McLaren Technology Center,
in dem die Boliden für die Rennstrecke entworfen werden.
Im ersten Jahr sollen 1‘000 Fahrzeuge gebaut werden, es dürfte keinen
Zweifel geben, dass es den 35 Händlern in 19 Ländern gelingen wird,
diese im Handumdrehen an den Mann zu bringen. Das neue Vertriebskonzept
soll einen Service-Level bieten, wie die Kunden es bei keinem
anderen Sportwagenhersteller finden, eine grosse Herausforderung
für alle Vertriebspartner. Für die Schweiz hatten sich mehrere exklusive
Firmen beworben, am Ende entschieden sich die Briten für die
SCHMOHL AG in Glattbrugg bei Zürich, wo schon Rolls-Royce, Bentley
und Lamborghini in den weitläufigen Ausstellungsräumen unvergleichliche
automobile Erotik verströmen.
Having said that, the list price alone gets the buyer a vehicle that
is nothing short of revolutionary. McLaren, inventor of the carbon
chassis, has now ramped this technology up for mass production. It
used to take several thousand hours of work to fashion a single chassis.
Today, a new carbon MonoCell rolls off the production line in just about
four hours. Work on developing the MP4-12C was nothing if not uncompromising.
Every last component was specially designed for this
car. Not a single part has been borrowed from other vehicles or manu-
facturers. So we are talking about pure, unadulterated McLaren!
Using carbon, the engineering team succeeded in combining extraordinary
performance with impressive efficiency. No-one has ever achieved
600 hp with less than 300 g/km CO2 before. An added bonus is that the
MonoCell makes for an unexpectedly roomy interior given the compact
external dimensions.
The new, purpose-built factory in Woking, UK, has a distinctly Formula
1-esque feel to it. Perhaps not surprisingly: The McLaren Production
Center’s (MPC’s) next-door neighbor is the legendary McLaren Technology
Center, the stable that breeds racing cars.
A thousand MP4-12Cs are due to be rolled out in the first year; and
35 dealers in 19 countries will doubtless find homes for all of them. The
new sales strategy includes service-level offerings the like of which customers
will find at no other sports car manufacturer. The challenge to distribution
partners is accordingly immense. A number of exclusive firms applied
for the rights to the Swiss market, before the British firm gave the nod to
SCHMOHL AG, a company based in Glattbrugg, near Zurich. Rolls-Royces,
Bentleys and Lamborghinis already suffuse SCHMOHL’s spacious showrooms
with an almost tangible automotive sensuality.

Ambition in
Private Banking.
For us, private banking means having the ambition to exceed
expectations. Also yours: 058 205 21 11 or www.claridenleu.com
Clariden Leu Ltd., Bahnhofstrasse 32, 8001 Zurich
SWISS PRIVATE BANKING views magazine SINCE | 87 1755

COLORS
OF
The days of holi
INDIA
96 | views magazine
Das Festival münDet in einer Farb-orgie, ströme eingeFärbten
Wassers unD berge von grellem Pulver, manchenorts gleich in
riesenmengen aus Kanonen verschossen, versetzen nicht nur
Die hinDuistische mehrheit Der inDischen bevölKerung in
entFesselte begeisterung.
The fesTival culminaTes in a dazzling orgy of colors. rivers of
dyed waTer and mounTains of garish powder – shoT in huge volumes
ouT of cannons in some places – unleash a brighT and beauTiful wave
of unbridled boisTerousness, noT only among india‘s hindu majoriTy.

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An manchen Orten, wie Vrindavan oder
Mathura, wo Gott Krishna aufwuchs, zieht
sich das Festival über 16 Tage hin.
am vorabend, in anderen gegenden auch
am abend des holi, prasseln überall im land,
aber auch darüber hinaus in nepal und sogar
in der hinduistischen Diaspora von grossbritannien
die Freudenfeuer zum gedenken an
den Flammentod der fürchterlichen holika.
sie war, folgt man der vaishnava theologie,
die tochter des Dämonen königs hiranyakashipu,
die, wie ihr vater, im besitz eines Knochens
von brahma war, der sie unsterblich
machen sollte. Der grosse Dämon wetterte
gegen himmel und erde und forderte die
menschen auf, ihren göttern nicht länger
zu huldigen und stattdessen ihn anzubeten.
Jedoch sein eigener sohn, Prahlada, war ein
Jünger vishnus. er sollte vergiftet werden,
aber in seinem mund verwandelte sich das
gift in süssen nektar, elephanten sollten ihn
zu tode trampeln, er überlebte unverletzt.
selbst die hungrigen giftschlangen, mit
denen zusammen man ihn in einen dunklen
raum sperrte, konnten ihm nichts anhaben.
alle versuche hiranyakashipus, seinen sohn
zu töten, blieben erfolglos. Da verdammte
er ihn auf einen scheiterhaufen, auf dem
schoss seiner dämonischen schwester
holika sitzend, die sich dank des Knochens
dem Feuer gefeit fühlte. Prahlada bat vishnu
um schutz und beugte sich dem Willen des
vaters. als die Feuer entfacht waren, erlebte
die staunenden menschenmenge, wie holika
in den Flammen verging und Prahlada unbeschadet
überlebte. Die verbrennung holikas
liegt dem Fest des holi zugrunde.
Der orgiastischen Farbenschlacht geht
eine andere legende voraus. sie erinnert
an die tiefe liebe zwischen gott Krishna
und rhada. Danach hatte sich Krishna über
den Kontrast zwischen seiner dunklen und
der hellen hautfarbe rhadas beklagt. seine
mutter entschloss sich kurzerhand, rhadas
gesicht Farbe zu verleihen. aus dieser geste
entwickelte sich diese völlig hemmungslose
zeremonie, bei der Jahr für Jahr, am ende
der Wintersaison, der ganze subkontinent in
einen einzigen Farbenrausch verfällt.
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In places such as Vrindavan, or in Mathura,
where the Hindu god Krishna grew up, the
festival goes on for 16 days.
some regions begin the celebrations on
the eve of holi, others await the big day
itself. either way, bonfires are lit all over the
country, across the border in nepal and even
among the hindu diaspora in the uK to commemorate
the burning of the dreaded holika.
according to vaishnava theology, holika was
the daughter of demon-king hiranyakashipu.
father and daughter each possessed a bone
of brahma that was supposed to make them
immortal. The great demon railed against
heaven and earth, calling on mankind to no
longer revere their gods but to worship him
instead. his own son prahlada was a devotee
of vishnu, however. an attempt to poison
prahlada failed when the poison turned to
sweet nectar in his mouth. elephants were
supposed to trample him to death, yet he
survived uninjured. even the ravenous and
poisonous snakes with which he was locked
in a darkened room were unable to harm
him. since every attempt by hiranyakashipu
102 | views magazine
to kill his son failed miserably, the demon
condemned him to sit on a bonfire on the lap
of his sister holika. (The latter was supposed
to be immune to harm from fire, courtesy of
the aforementioned bone.) prahlada bowed
to his father’s wish – but not before he had
asked vishnu for protection. when the fire
was lit, the astonished onlookers saw holika
consumed by the flames while prahlada survived
unharmed. The burning of holika is the
reason for the holi festival.
The orgiastic color bash has its origins in
a different legend. its purpose is to recall the
profound love between the god Krishna and
rhada. legend has it that Krishna bemoaned
the contrast between his own dark skin and
rhada’s light skin; whereupon Krishna’s
mother quickly decided to put a little color in
rhada’s cheeks, so to speak. This one simple
gesture has since evolved into an utterly
uninhibited ceremony in which, year for year,
at the end of the winter season, the entire
subcontinent is immersed in a bath of exhilarating
colors.

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Mit Spannung erwartet wurden im November 2010 die neuen Mitglieder der «Leading Hotels of the World»
bekannt gegeben. Folgen Sie uns auf eine kleine Reise um die Welt mit phantastischen Bildern.
The announcement of nine new members of the «Leading Hotels of the World» in November 2010 was awaited with
eager anticipation. Join us on a quick trip around the world as we visit them all in a stunning photo series.
Old
hands
&new
faces
88 | views magazine
The Fuchun ResoRT, hangzhou, china
In China klingt Hangzhou ähnlich romantisch wie Venedig
in unseren Breitengraden. Das Fuchun vereint modernes Ambiente
und allerhöchsten Luxus, inspiriert von klassischer chinesischer
Architektur und antiken Wandgemälden. Direkt am gleichnamigen
Fluss gelegen, bietet es ein elegantes Refugium abseits
der Grosstadt.
for the romantically inclined, Hangzhou is to China what
Venice is to the Western world. Inspired by classical Chinese
architecture and antique wall paintings, the Fuchun Resort nevertheless
combines a distinctly modern feel with consummate luxury.
Perched right on the river of the same name, this is an elegant
haven of rest far removed from the hectic busy-ness of the big city.

views magazine | 89

zulu camP aT shambala game ReseRve, souTh aFRica
Die Big Five hautnah erleben, das verspricht dieses Resort im Herzen
der Bushveld Region mit seinen gerade einmal acht Chalets. Bei allem
Komfort, hier steht der ökologische Aspekt ganz deutlich im Vordergrund,
der Gast erhält nicht nur einzigartigen Zugang zu einem der spannendsten
Plätze der Erde, aus den Einnahmen wird der Erhalt des Ökosystems
und das Conservation and Rehabilitation Center finanziert.
90 | views magazine
one & only The Palm, Dubai, uae
Mit dem Wassertaxi geht es in wenigen Minuten vom quirligen Zentrum
auf die Halbinsel The Palm Jumeirah. Im maurisch-andalusischen
Stil erbaut, gibt es «normale» Zimmer und Suiten im Haupthaus, sowie
sechs Mansions und vier wahrhaft komfortable Beach Villas. Am Horizont
grüsst die Skyline von Dubai.
The journey from the effervescent center to The Palm Jumeirah
peninsula takes but a few minutes by water taxi. Resplendent in their
Moorish-Andalusian style, the «normal» rooms and suites are accommodated
in the main building. And then there are the six mansions and four
sumptuously comfortable beach villas. The Dubai skyline dominates the
horizon.
The chance to see the Big five at close quarters comes alive at this
resort in the heart of South Africa’s Bushveld region. Though oozing
comfort and convenience, its eight chalets visibly give top priority to the
natural environment. Guests gain privileged access to one of the most
exciting places on Earth, while revenues are used to preserve the eco-
system and support the Conservation and Rehabilitation Center.

al aReen Palace & sPa, bahRain, uae
Endlich ein Leading Hotel in Bahrain. Das All-Villa Resort lässt die
Pracht orientalischer Paläste auf zeitgenössisches Design treffen. Jede der
78 Villas lockt mit eigenem Jacuzzi und privatem Swimming Pool und im
Garten wartet sogar ein echter Hammam. Die Frage der Unterkunft für
den nächsten Formel 1-Stop dürfte damit geklärt sein.
Bahrain at last has a Leading Hotel of the World. This all-villa
resort blends the splendor of oriental palaces with the best in contemporary
design. Every one of the 78 villas has its own jacuzzi and private
swimming pool. The lush garden even boasts an authentic Turkish bath.
Visitors to the first stop on the Formula 1 circuit need look no further
for a representative residence.
KemPinsKi nile hoTel gaRDen ciTy, caiRo egyPT
Der Name verrät es, am Ostufer des Nil gelegen, gilt die Neuer-öffnung
als erstes Luxus-Boutique Hotel in Kairo. Jedes der 191 Zimmer bietet
grandiosen Ausblick auf die Stadt, den Nil oder die üppigen Gartenanlagen.
Für die Inneneinrichtung zeichnet auch hier Altmeister Pierre-Yves
Rochon verantwortlich.
The name says it all: The newly opened establishment on the east bank
of the Nile is regarded as the first luxury boutique hotel in Cairo. Each of the
191 rooms commands its own marvelous view of the city, the Nile or the
hotel’s luxuriant gardens. The interior design bears the hallmark of master
craftsman Pierre-Yves Rochon.
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sanDy lane, baRbaDos
Passionierten Golfern dürfte hier das
Herz höher schlagen, gleich drei Plätze stehen
zur Wahl, aber der Höhepunkt ist sicher der
Green Monkey, gestaltet von Tom Fazio. Seit
1961 gilt das Sandy Lane als eine der ersten Adressen
in der Karibik. Wer der Greens überdrüssig
ist, tritt einfach von seiner Terrasse in den
weissen Sand direkt vor seiner Suite.
Passionate golfers can choose from no
fewer than three excellent golf courses,
though the crown jewel is undoubtedly
the Green Monkey, designed by Tom Fazio.
Since 1961, Sandy Lane has been regarded as
one of the premier addresses in the Caribbean.
After the 18th hole, the glimmering white
beach is but a step away from each and
every suite patio.
92 | views magazine
The villa by baRTon g., miami, usa
Die ehemalige Villa des Modezaren Gianni Versace darf sicher als die stilvollste Adresse
in Miami gelten. Am berühmten Ocean Drive finden die Gäste eine wahrhafte noble temporäre Bleibe.
Impresario Barton G. Weiss hat das Vermächtnis Gianni Versaces mit einer aufwändigen Renovation
in die Zukunft geführt. Auf 1‘700 Quadratmetern sind gerade einmal zehn äusserst exklusive
Suiten entstanden.
Previously owned by fashion mogul Gianni Versace, The Villa lays justifiable claim to
the title of the most stylish address in Miami. Here on the famous Ocean Drive, guests discover
a temporary abode that is noble through and through. Extensive renovation by impresario
Barton G. Weiss has successfully transported the former Versace Mansion into a luxurious
future: The 1,700 m 2 residence is made up of just ten exceptionally exclusive suites.

The gReenwich hoTel, new yoRK, usa
Noch ein prominenter Hausherr: Im angesagten Downtown-Viertel TriBeCa hat Robert de Niro
sein Greenwich Hotel eröffnet. Ganz dem Geist des multikulturellen New York verpflichtet, mit seinen
Menschen aus aller Herren Länder, sind auch im Greenwich keine zwei Zimmer gleich gestaltet:
handgeknüpfte tibetische Seidenteppiche hier, englische Ledersessel dort, marokkanische Fliesen,
italienischer Marmor. Jedes der 88 Zimmer ist ein Erlebnis für sich.
another celebrity proprietor – robert de Niro – recently opened the Greenwich Hotel in
TriBeCa, one of New York’s most desirable neighborhoods. In a tribute to the multicultural spirit of the
Big Apple, whose residents hail from the four corners of the Earth, no two rooms at the Greenwich are
alike. Hand-made Tibetan silk carpets here, English leather armchairs there, Moroccan tiling to the
one side, Italian marble to the other: Each of the 88 rooms is a truly unique experience.
The seTai FiFTh avenue, new yoRK, usa
Das neueste Projekt des genialen Horst
Schulze, der mit seiner Capella Gruppe das
Setai in New York managen wird. Damit dürfte
allerhöchster Standard garantiert sein. Die Lage
an der Ecke Fifth Avenue und 36. Strasse könnte
ohnehin kaum besser sein an.
The latest project from the hand of the ingenious
Horst Schulze, whose Capella Group
manages the Setai in New York. Superlative
standards are thus well and truly guaranteed.
The location too – on the corner of Fifth Avenue
and 36th Street – could scarcely be better.
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«The leaDing hoTels oF The woRlD»
aPPoinTs anDRea KRachT as new chaiRman
Andrea Kracht, Besitzer des Baur au Lac wurde im November 2010
zum Chairman der Leading Hotels of the World gewählt. Er übernimmt
das Amt von Jean-Jacques Gauer, der die Position nach 20 Jahren abgibt.
Andrea Kracht, Nachkomme einer Familie, die mit ihren Häusern seit fast
170 Jahren Massstäbe in der Hotelführung setzt, weist nach einer Phase
der Expansion den Weg in die Zukunft der angesehenen Hotelvereinigung:
«Stärke und zugleich Antriebsfeder von The Leading Hotels of
the World ist die Qualität seiner Mitgliedshäuser und seine engagierten
Mitarbeiter. Wir haben einen ehrgeizigen Business Plan, um noch mehr
Umsatz für unsere Mitglieder zu generieren. Dieser Plan basiert nicht auf
einem zahlenmässigen Wachstum unseres Portfolios, sondern einem Zuwachs
an Qualität – auch wenn wir auf diesem Weg einige Mitglieder
verlieren, die die gesetzten Ziele nicht erreichen.»
Ein weiterer Ausdruck der Neu-Ausrichtung von The Leading Hotels
ist auch das aktualisierte Erscheinungsbild des Hotelverzeichnisses. Als
Meilenstein in der Unternehmensgeschichte bezeichnete CEO Ted Teng
das neue Logo, das er in Tokio vorstellen konnte. Zum ersten Mal seit der
Gründung vor 80 Jahren wurde das Logo umgestaltet.
andrea Kracht, owner of the Baur au Lac, was appointed Chairman
of the Leading Hotels of the World in November 2010, succeeding Jean-
Jacques Gauer, who had held the post for 20 years. Kracht is part of a
family whose establishments have been setting the standard in hotel
management for nearly 170 years. Following on from a phase of expansion,
the new chairman outlined the way forward for the respected hotel
association: «The real value and driver of The Leading Hotels of the World
is the quality of its members and the dedicated employees who support
our hotels. We have an ambitious business plan to drive more revenue to
our members. This plan relies on an overall increase not in our number of
hotels, but in the quality of our portfolio – even if this means losing some
properties that do not make the mark.»
A further expression of The Leading Hotels’ fresh orientation is the revamped
appearance of the membership directory. CEO Ted Teng described
the new logo, which he unveiled at the Tokyo gathering, as a milestone in
the history of the company. This was indeed the first time since the inception
of The Leading Hotels 80 years ago that the logo has been redesigned.
94 | views magazine
casa De camPo, Dominican RePublic
Auch hier steht Golf im Vordergrund, Pete Dye hat seine unverkennbare
Spur hinterlassen, aber im Casa de Campo kommt eine
weitere Attraktion hinzu: Der eigene Reiterhof lädt ein, die Insel hoch zu
Ross zu erkunden, oder den Turnieren des hauseigenen Polo Teams beizuwohnen.
Golf is the central theme at this exquisite location. Pete Dye has
made his unmistakable mark here, though his is by no means the only
attraction. The hotel’s own ranch gives guests every excuse to discover
the island on horseback or attend the performances of the Casa
de Campo polo team.
The obseRvaToRy, syDney, ausTRalia
Direkt neben dem historischen Viertel The Rocks gelegen, bietet
das Observatory eine urbane Ruheoase mit Boutique-Atmosphäre und
ist gleichzeitig der ideale Ausgangspunkt für die Sydney Harbour Bridge
und einen Ausflug in die vibrierende Grosstadt. Der High Tea in der Globe
Bar ist legendär und das Restaurant Galileo berühmt für seine innovative
Küche.
right next to the historic rocks district, The Observatory is an oasis of
tranquility and boutique luxury in the bustling heart of Sydney. It is also
the ideal starting point from which to visit the famous Harbour Bridge and
explore this vibrant metropolis. High tea in the Globe Bar is the stuff of legend.
The Galileo Restaurant too has made a name for itself with innovative
cuisine.
gRanD hoTel Timeo, TaoRmina, sicily, iTaly
Auf den ersten Blick scheint das Timeo in die überreste des griechisch-römischen
Theaters integriert zu sein, die erhöhte Lage an der
felsigen Ostküste gibt den Blick frei auf das Mittelmeer zur einen und den
ätna zur anderen Seite. Als erstes Hotel, das in Taormina gebaut wurde,
gilt es heute nicht nur als eine der glamourösesten Adressen Italiens, sondern
ist auch für sich bereits ein «landmark».
at first glance, the Timeo seems to be of a piece with the remains
of the Greco-roman amphitheater. Its lofty perch on the island’s rocky
east coast commands an unhindered view of the Mediterranean to the one
side and Mount Etna to the other. The first hotel ever to have been built in
Taormina, it is not merely one of the most glamorous addresses in Italy, but
a landmark in its own right.

aDRuTT’s Palace hoTel, sT. moRiTz, swiTzeRlanD
Eines der traditionsreichsten Leading Hotels of the World hat zu Beginn der Wintersaison 2010
seinen neuen Wellness-Bereich vorgestellt. Kristallklare Seen vor der spektakulären Bergwelt des
Engadin und «Air like Champagne» – welcher Ort würde sich besser eignen, um Körper und Geist
in Einklang zu bringen? Martha Wiedemann, inspiriert durch die historischen Aufzeichnungen über
die Hochgebirgs-Flora im Tagebuch von Hotel Entrepreneur Caspar Badrutt, integrierte die Engadiner
Natur mit viel Einfühlungsvermögen in das architektonische Gesamtkonzept.
Die Blumen dieser einmaligen Berglandschaft sind denn auch die Namensgeber für die unterschiedlichen
Treatment Rooms. Ein Alpengarten mit heimischen Pflanzen und Steinen bildet
das Zentrum, er lässt klare Gebirgsluft herein, Sonnenlicht durchflutet den Raum und alpine Düfte
regen alle Sinne an. «Wir verfügen über eine so grossartige Lage, dass wir im Design und der
Ausstattung bewusst einfach bleiben konnten. Wir verwenden die Landschaft als Gemälde,»
erklärt Martha Wiedemann. Hier offenbart sich der Schlüssel zum Wohlbefinden: Das Fehlende
ergänzen und das überschüssige reduzieren – Konzentration auf das Wesentliche.
Neben Ayurveda, Water-Therapy und Rebalancing-Massagen wird auch die Shirodhara-
Erfahrung, eine Behandlung um den Geist zu regulieren, angeboten. Die Rezepturen der eingesetzten
Produktlinien bestehen selbstverständlich aus natürlichen und vorwiegend organischen
Ingredienzen.
One of the most venerable Leading Hotels of the World unveiled a brand-new wellness
area at the start of the 2010 winter season. The lakes are crystal-clear, the mountains around the
Engadin nothing short of spectacular. Locals claim that even the air here tastes like Champagne.
So what better place to bring body and soul back into equilibrium? Inspired by the historic drawings
of Alpine flora she found in the diary of hotel entrepreneur Caspar Badrutt, Martha Wiedemann demonstrated
an exceedingly sensitive touch, mixing Nature into the wider architectural concept.
The flowers that flourish in this unique mountainscape lend their names to the various treatment
rooms. The centerpiece – an Alpine garden replete with local plants and stones – brings in
the fresh mountain air. Sunlight floods the room; fragrant Alpine scents invigorate the senses.
«The location itself is so fantastic that we were consciously able to stay purist on design and
furnishings. We use the landscape like a painting», Wiedemann explains. Wherein lies the key to
wellness: add what is missing, reduce what is superfluous, concentrate on what is essential.
Ayurveda, water therapy and rebalancing massages are complemented by shirodhara, a form
of soulness treatment. The product lines used in these applications combine natural and mostly
organic ingredients.
views magazine | 95

Contemplation
KalashniKovs
and
by Jürgen Pfannkuch

Cambodia’s preah vihear
– The besT-guarded Temple in The world

nur nicht stehen bleiben, nicht rückwärts rutschen, es gäbe kein
halten mehr. Die Füsse schleifen über die löchrige piste, ständig in Bereitschaft,
dem verzweifelt jaulenden motor der klapprigen Honda Unterstützung
zu leisten. nie zuvor habe ich eine Strasse oder piste mit einer
derartigen Steigung zu Gesicht bekommen, geschweige denn, selbst befahren.
ihre erbauer hatten keine Wahl, links und rechts der Direttissima
hat der Vietnamkrieg die dichtesten minenfelder indochinas hinterlassen
und dahinter ist auch noch «Feindesland». inzwischen umgeben uns tiefhängende
Regenwolken, sie verhindern gnädig den Blick nach unten und
verdrängen den Gedanken an die spätere talfahrt. nach 40 minuten ist
das plateau zu Füssen des tempelbergs in etwa 700 meter Höhe erreicht.
ein trampelpfad führt zur ersten treppe, dem sogenannten
Gopuram, des auf drei ebenen gelegenen
eigentlichen tempelbezirks, vorbei an militärischen
Unterständen, provisorischen nachtlagern
in bambusgepolsterten abflussrohren, hier eine
einsame Granatwerferstellung, dort, hinter Sandsäcken
kaum verborgen, ein maschinengewehr.
Langsam tauchen aus dem nebel die konturen
der dazugehörigen Soldaten auf, gelang-
weilt auf die Kalaschnikow gestützt der eine,
das aK47 demonstrativ im anschlag, der andere.
eine Gruppe bereitet unter einer Zeltplane das
mittagessen, eine weitere schlägt die Zeit beim
Kartenspielen tot. Zu meinem erstaunen hindert mich keiner von ihnen
am Weitergehen, niemand verlangt das permit, keine unangenehmen
Fragen wegen der Kameras, kein «Wegezoll». Was war nicht alles in thai-
ländischen Zeitungen zu lesen und im deutschen Fernsehen zu hören
gewesen, über die Unmöglichkeit, sich als ausländer den tempeln zu nähern,
überhaupt den Berg von kambodschanischer Seite aus erreichen zu
können, über auch während der trockenzeit unbefahrbare Strassen und
so weiter und so weiter. Die 240 Kilometer von Siem Reap/angkor bis ins
Dongrek Gebirge waren im gemieteten pkw mit einem umsichtigen –
man könnte auch sagen, sehr ängstlichem Fahrer – ohne Zwischenfälle
in fünf Stunden geschafft.
mühsam gestaltet sich der aufstieg über die ersten 100 erodierten
Steinstufen in Richtung erster ebene. aus dem noch immer dichten nebel
ragen bizarr Relikte riesiger in Stein gehauener nagas hervor, ein paar
weitere Stufen und das Hauptheiligtum wird oben auf der dritten ebene
schemenhaft sichtbar. Und überall militär, die tarnuniformen verleihen
den Soldaten hier im graugrünen Dschungel eine perfekte mimikri. auffällig
ist allein die aufgenähte Flagge Kambodschas mit dem zentralen
Heiligtum von angkor Wat.
allmählich lichtet sich der nebel ein wenig, es ist kühl hier oben, jedoch
nähert sich die luftfeuchtigkeit den 100 prozent. Stufe für Stufe kommt
die zweite ebene näher, mit erstaunlich gut erhaltenen, weitläufigen Gebäuden,
an deren Südseite sich aber kein einziges Fenster befindet, und
das bei einer – wie sich später zeigen wird – atemberaubenden aussicht
auf das weite kambodschanische Hinterland. offensichtlich sollten pilger,
die hierher zur meditation kamen, nicht abgelenkt
werden. Freistehende Skulpturen sucht man im
ganzen tempel vergebens, jedoch finden sich immer
wieder schön herausgearbeitete, Dämonen
darstellende Reliefs über den türstürzen, die während
einer späteren epoche dort entstanden. andere
abbildungen zeigen Szenen aus dem mahabharata
und widmen sich Vishnu oder Krishna, einer
seiner inkarnationen, obwohl die Khmer den ganzen
tempel ursprünglich der Hindu-Göttin Shiva
gewidmet hatten. Die ersten pläne zum Bau der
anlage werden einem Sohn König Jayavarman ii zu -
ge schrieben, das müsste dann im 9. Jahrhundert
gewesen sein. insgesamt zogen sich die Bauarbeiten
vom 10. bis ins 12. Jahrhundert. aber während die Khmer üblicherweise
nach dem tod ihrer Könige deren tempel dem Verfall preisgaben,
wurde preah Vihear über drei Jahrhunderte hinweg, von den folgenden
Königen, bis zum tod König Suyavarman ii, immer wieder erweitert, ergänzt
und verschönert.
Trotz der Präsenz einiger hundert bewaffneter kämpfer auf dieser
Seite des Prasat Preah Vihear wirkt die Szenerie nicht wirklich
gefährlich. Das mag daran liegen, dass sich nahezu jeder ein lächeln
entlocken lässt; einer von ihnen führt mich gar, sicher nicht ganz selbstlos,
zu einem besonders gut erhaltenen, hinter Gesteinstrümmern verborgenen
Relief mit dem auf einem Büffel reitenden Krishna.
Und dennoch – die lage ist angespannt. erst recht, seit vor wenigen
tagen auf der anderen Seite des Berges ein thailändischer parlamentsabgeordneter
mit seiner entourage trotz dringlicher Warnungen der
Grenzposten illegal auf kambodschanisches Hoheitsgebiet vorgedrun

Steady now; don’t come to a standstill; don’t slide backward. My feet
dragged along the potholed trail, ever ready to assist the tortured, squealing
engine of the rickety Honda. If we did, there would be no way to remain
upright. Never before have I even seen a road or track with such a steep
incline, let alone attempted to negotiate one. To be fair, the civil engineers
had little choice in the matter. To the left and right of the Direttissima, the
Vietnam war has left the most densely seeded minefields in all Indochina.
After that comes «enemy territory». By now we are
hemmed in by low-hanging rain clouds, which mercifully
make it impossible to look down – and easier
to forget about the descent that awaits us when we
return. After 40 minutes, we reach the 700 meter-high
plateau at the foot of the temple mount. A beaten
track leads us to the first gopura, the first set of steps
leading up to the temple area proper, which is set out
on three levels. On the way, we pass military dugouts,
makeshift bivouacs and bamboo-padded drainpipes,
a grenade-launcher here, a machine-gun there, barely
hidden from view behind a pile of sandbags.
The shapes of the soldiers themselves gradually emerge from the
mist, the one leaning on his Kalashnikov, demonstratively bored, the other,
equally demonstratively, his AK47 raised and at the ready. Under cover of
a canvas sheet, one group is preparing the midday meal. Another group is
killing time with a game of cards. To my astonishment, none of them stops
me on my way or demands to see my permit. There are neither unpleasant
questions about my camera, nor do I have to pay a «toll». I had read
so many things in Thailand’s newspapers and seen so much on German
television about how impossible it is for foreigners to approach the temples
or even get as far as the mountain from the Cambodian side; about
roads that are impassable even in the dry season, and so on, and so forth.
Yet I covered the 240 kilometers from Siem Reap/Angkor to the Dongrek
mountains in a hired car and with a cautious – or perhaps one might say
conspicuously fearful – driver without incident in five hours flat.
The first 100 weather-worn stone steps to level one
make for a laborious ascent. The bizarre remains of
stone-hewn nagas protrude from the fog that is still
as thick as ever. A few more steps and the vague outline
of the main sanctuary up on the third level comes
into view. And then there are the soldiers, everywhere.
Here in the gray-green hues of the jungle, their camouflaged
fatigues give them perfect cover. The only thing
that stands out is the stitched-on Cambodian flag featuring
the central sanctuary of Angkor Wat.
The fog is gradually thinning out a little. It is chilly
up here, although humidity is close to 100 percent. Each step brings us
nearer to the second level, made up of surprisingly well preserved and spacious
buildings. Not a single window is to be seen on the south side – and
that despite what we later discover to be a breathtaking view of the vast
expanse of Cambodia’s hinterland. Quite obviously, pilgrims came here to
meditate, not to be distracted. Free-standing sculptures are nowhere to be
seen in the entire temple, although beautifully crafted demon reliefs top

gen war und prompt gefangengenommen wurde.
nun höhnt die gesamte thailändische presse über die
«Seven Clumsy thais», doch die Hardliner in der Regierung
drohen weiter mit gewaltsamer einnahme
des tempels und tausende ihrer nationalistischen anhänger,
der «Yellow Shirts», demonstrieren auf Bangkoks
Strassen für ein härteres Vorgehen gegen den
nachbarn im Süden und gegen den 50 Jahre zurückliegenden
Beschluss des internationalen Gerichtshofs
in Den Haag, der 1962 das zwischen beiden ländern
umstrittene Grenzgebiet Kambodscha zuschlug. Das
regte in thailand solange niemanden auf, als die ganze
Grenzprovinz bis in die späten 90er Jahre von der versprengten
Soldateska der Khmer Rouge, an ihrer Spitze
der ehemalige aussenminister pol pots, Khieu Sampan,
der in diesen tagen in phnom penh endlich vor Gericht
steht, beherrscht wurde. noch 20 Jahre nachdem die
vietnamesische armee im damaligen Kamputschea
einmarschiert war und das Schreckensregime pol pots,
dem an die zwei millionen Bürger, unter ihnen fast die
gesamte intelligenz des landes, auf grausamste Weise
zum opfer gefallen waren, gewaltsam aus der Hauptstadt
phnom penh ver trieben hatte. Die empörung auf
thai ländischer Seite erwachte erst wieder, nachdem
2008 die UneSCo dem antrag der kambodschani-
the lintels that were created in a later period. Other reliefs
depict scenes from the Mahabharata and are dedicated
to Vishnu or Krishna (one of the former’s incarnations),
although the Khmer people originally devoted the whole
temple to the Hindu goddess Shiva. The initial plans for
construction of the temple are ascribed to a son of King
Jayavarman II, which would have been in the 9th century.
Ultimately, the construction work extended from the 10th
into the 12th century. Yet although the Khmer custom was
to leave temples to go to ruin when their monarch-patrons
died, Preah Vihear was repeatedly extended, enhanced
and beautified by the kings who followed – for three centuries,
right up until the death of King Suyavarman II.
Despite the presence of several hundred armed
fighters on the site of the Prasat Preah Vihear, there
seems nothing really dangerous about the scene.
Maybe that is because practically all of them smile so readily.
One of them even leads me – not entirely selflessly, it is
true – to an especially well preserved relief, hidden behind
stone ruins, of the Krishna riding a buffalo.
Yet the situation is indeed fraught. All the more so given
that, a few days hence, a Thai member of parliament and
his entourage on the other side of the mountain, ignoring
the border guards’ urgent warnings, had illegally entered

schen Regierung unter ihrem gewählten präsidenten Hun Sen, dessen
frühere Zugehörigkeit zum pol pot Regime im lande totgeschwiegen
wird, preah Vihear zum Weltkulturerbe zu erheben, statt gab. Der thailändische
aussenminister trat noch am selben tag zurück. Seither kommt es
in unmittelbarer nähe des tempels immer wieder zu bewaffneten Scharmützeln,
bei denen durchaus auch tote zu beklagen sind. Beide Seiten
beanspruchen ein Gebiet, das gerade einmal 4,5 Quadratkilometer umfasst.
nach inoffiziellen angaben stehen 3‘000 kambodschanische 2‘000
thailändischen Soldaten gegenüber, die von Zeit zu Zeit, je nach politischer
Stimmungslage, in höchste alarmbereitschaft versetzt werden. an
manchen Stellen sind es nicht einmal 20 meter, die die beiden armeen
voneinander trennen. Der Sichtkontakt zu den martialisch in schwarze
Uniformen gekleideten Soldaten der thai-army wird lediglich von einigen
Buschreihen behindert. Der bemerkenswerte Umstand, dass sich bei einem
dieser Gefechte kürzlich gleich nach den ersten Schüssen eine zehnköpfige
Gruppe dieser eliteeinheit in kambodschanische Gefangenschaft
begab, steckt als Stachel tief im Fleisch der thailändischen armeeführung.
Während sich nach preah Vihear – die thais nennen den tempel phra
Viharn, beides bedeutet so viel wie «heiliger Berg» oder tempel – auf
kambodschanischer Seite wegen seiner abgeschiedenen lage, auf thailändischer
Seite wegen der politisch-militärischen Brisanz, noch kaum
ein tourist verirrt, versprechen sich beide länder für die Zukunft einen
ähnlich devisenträchtigen ansturm, wie ihn das riesige tempelareal rund
um angkor Wat, das identitätsstiftende Heiligtum der Khmer, seit der
Jahrtausendwende erlebt. immerhin gilt preah Vihear nicht wenigen als
kultureller Höhepunkt der Khmer. in phnom penh wehen überall in der
Stadt Fahnen mit entsprechenden Symbolen, und am neuen airport von
pochentong grüsst nicht mehr ein monumentalbild von angkor Wat,
sondern vom prasat preah Vihear als erstes den Besucher. notfalls bis zur
nächsten Weltkulturerbekonferenz in Bahrein im nächsten Jahr, rasseln
beide erst einmal weiter mit dem Säbel, hier das 70 millionen-Volk der
thai, dort der 14 millionen-Zwerg Kambodscha. Während mir beim abstieg
einige Soldaten zum abschied zuwinken, geht mir ein Zitat ihres
präsidenten Hun Sen durch den Kopf: «auch eine fliege kann einen
elefanten am Schlafen hindern...»

sovereign Cambodian territory and were promptly arrested. While the entire
Thai press is now heaping scorn on the «seven clumsy Thais», government
hardliners stand by their threat to take the temple by force. Meanwhile,
thousands of their yellow-shirted supporters are out on the streets in
Bangkok, demonstrating for a harder stance against the country’s southern
neighbors – and against the 50 year-old resolution by the International
Court of Justice in The Hague that awarded the border region disputed by
both countries to Cambodia in 1962. As long as the border province was
controlled by Khmer Rouge militia, no-one in Thailand seemed unduly
concerned. This was the case until well into the 1990s, during which time
Khieu Sampan, the former foreign minister of one Pol Pot, held the reins –
for fully 20 years after the Vietnamese army had invaded what was then
Kampuchea and forcibly evicted Pol Pot and his reign of terror from the
capital Phnom Penh. (Nearly two million people, including virtually the
whole of the country’s intelligentsia, were brutally sacrificed to this merciless
regime.) At last, Khieu Sampan has gone on trial in Phnom Penh. Thai
indignity was indeed not rekindled until 2008, when UNESCO acceded to
the wish of the Cambodian government, headed by elected President Hun
Sen (whose former role in the Pol Pot regime had been covered up), to recognize
Preah Vihear as a World Heritage Site. Thailand’s foreign minister
resigned before the day was out. Since then, armed skirmishes, leading to
a number of deaths, have been a repeated occurrence in the immediate
vicinity of the temple. Both sides lay claim to an area of just 4.5 square kilometers.
Unofficial reports indicate that 3,000 Cambodian and 2,000 Thai
soldiers are involved in this localized face-off and are, depending on the
political mood, occasionally put on red alert. In places, the two armies are
separated by a distance of under 20 meters. A few rows of bushes are the
only thing obscuring eye contact with the black-uniformed forces of the
Thai army. The remarkable circumstance that, during one such altercation,
no fewer than ten of this group’s elite soldiers found their way into Cambodian
custody after only a few shots had been fired is a thorn that has
embedded itself deeply in the flesh of the Thai military leaders.
Precious few tourists make their way to Preah Vihear from the Cambodian
side due to the site’s remote location. On the Thai side – the Thais call
it Phra Viharn, both designations meaning «holy mountain» or temple – it
is the political and military tension that keeps visitors away. Notwithstanding,
both countries both hope this lofty sanctuary will attract streams of
foreign exchange similar to those generated since the turn of the millennium
by the vast temple facility centered around Angkor Wat, the rallying
point for the Khmer identity. After all, Preah Vihear is regarded by not a few
observers as the cultural zenith of the Khmer empire. Phnom Penh is replete
with flags bearing symbols of the temple. At the new Pochentong Airport,
visitors are no longer welcomed by a monumental depiction of Angkor
Wat, but by Prasat Preah Vihear. If all else fails, both sides – the 70 million-strong
Thai giant and the 14 million-strong Cambodian dwarf – will
doubtless continue their saber-rattling for the time being, at least until next
year’s World Heritage Conference in Bahrain. As a handful of soldiers wave
me goodbye and I begin my descent, a quotation by Cambodian President
Hun Sen comes unbidden to mind: «Even a fly can rob an elephant of
sleep.»

122 | views magazine
YOUR STYLE. OUR SPIRIT.
S I n C E 1 8 9 6
Lady with beret in front of Badrutt’s Palace hotel, 1933
MajESTIC and ELEganT, In ThE CEnTRE Of ST. MORITz, In ThE hEaRT Of ThE SwISS aLPS.
ThIS IS whERE YOU fInd ThE BadRUTT’S PaLaCE hOTEL. LEgEndaRY, UnIqUE and dISTInCTIvE!
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MaY havE SEEMEd. wITh US YOU aRE ThE gUEST and waRMLY wELCOMEd.
Badrutt’s Palace hotel, via Serlas 27, 7500 St. Moritz, Switzerland, Telephone: +41 (0)81 837 1000, fax: +41 (0)81 837 2999
Reservations: +41 (0)81 837 1100, reservations@badruttspalace.com, www.badruttspalace.com
NOBLEMAN DeLUXE

SwiSS
Private
Banking
Hans nützi:
Mit tradition in die zukunft
Moving Towards The FuTure, building on TradiTion
dr. tHoMas steineMann:
die «sicHere» anlage –
WunscHdenken oder realität?
saFe invesTMenTs – wishFul Thinking or realisTic proposiTion?
dr. cHristian a. caMenzind:
2011 – Wieder ein
ansPrucHsVolles anlageJaHr
2011 – anoTher challenging Year For invesTors
dr. stePHan a. zWaHlen:
finanzPlatz scHWeiz –
das PriVate Banking iM uMBrucH
The swiss Financial cenTre – new realiTY in privaTe banking
views magazine | 123
swiss private banking

swiss private banking
Mit tradition in die Zukunft
Tradition in Kombination mit einem modernen
Beratungsansatz ist ein entscheidender
Erfolgsfaktor für das Private Banking
der Zukunft.
2011 ist ein weiteres Jahr des Wandels. Technischer
Fortschritt, eine steigende In formationsdichte
und die zunehmende Verflechtung von
Politik und Wirtschaft weltweit – das sind die
Kennzeichen unserer Zeit. Die Finanz­ und
Wirtschaftskrise der vergangenen Jahre hat
diesen Wandel akzentuiert und beschleunigt.
Diese Veränderungen werden auch künftig einen
grossen Einfluss auf das Private­Banking­
Geschäft ausüben. Doch die Grundpfeiler der
traditions reichen Dienstleistung bleiben unverrückt.
Denn das Bedürfnis der Kundinnen und
Kunden, ihr Vermögen zu bewahren und zu vermehren,
ist zeitlos.
Stabilität und Diskretion. In Zeiten der
weltweiten Vernetzung, in denen persönliche
Informationen für Unternehmen und Staaten
immer einfacher zugänglich sind, steigt ein
Bedürfnis: Der Kundenwunsch nach Diskretion
und nach der Wahrung der Privatsphäre. Auf
diesen Werten basiert die Tradition des Finanzplatzes
Schweiz und des Schweizer Private Banking.
In Zeiten hoher Marktvolatilität und politischer
Unsicherheit ist der Finanzplatz im Herzen
von Europa wie eh und je ein sicherer Hafen für
Anlegerinnen und Anleger. Die Standortvorteile
sind evident: Langjährige Erfahrung im internationalen
Vermögensverwaltungsgeschäft, grosse
Innovationskraft der Anbieter, hoher Ausbildungsstandard,
politische Stabilität und eine
starke Währung, um nur einige zu nennen.
Client Excellence. In Zukunft werden Stabilität
und Diskretion alleine nicht mehr genügen,
um den kontinuierlich steigenden Kun­
denansprüchen im Private Banking Tag für Tag
gerecht zu werden. «Client Excellence» – also
das Streben nach hervorragender Qualität in
der Kundenberatung und die Erarbeitung individueller,
massgeschneiderter Lösungen – wird
als Differenzierungsmerkmal weiter an Bedeutung
gewinnen. Die persönlichen Bedürfnisse
und das individuelle Risikoprofil der Kunden
bilden das Fundament, auf dem im Rahmen
eines mehrstufigen, strukturierten Beratungsprozesses
die individuelle Anlagestrategie entwickelt
und verfeinert wird. Und weil das Leben
nie stillsteht, ist dies kein einmaliger Vorgang.
Im Gegenteil: Die Anlagestrategie der Zukunft
wird laufend überprüft – immer dann, wenn es
die Finanzmärkte oder Veränderungen in den
persönlichen Umständen des Kunden erfordern.
Dies schafft Vertrauen und bildet die Basis
für eine langfristige, erfolgreiche Kundenbeziehung.
Erstklassige Spezialisten und Expertenteams.
Um das Ziel der «Client Excellence» zu
erreichen, ist die Rekrutierung und Ausbildung
der Mitarbeitenden von entscheidender Bedeutung.
Mit deren Fachwissen und der Sozialkompetenz
steht und fällt die Betreuungsqualität
einer Bank. Erstklassige Kundenberater müssen
erfahren, kompetent, authentisch und überzeugend
sein. Es muss das erklärte Ziel aller Mitarbeitenden
sein, die Kundenerwartungen nicht
nur zu erfüllen, sondern zu übertreffen. Um
in der Beratung einen ganzheitlichen Ansatz
verfolgen zu können, ist eine Produktpalette
erforderlich, die nebst der klassischen Anlageberatung
auch spezialisierte Dienstleistungen
in den Bereichen Steuern, Vorsorge, Pensionsplanung
und Nachfolgeregelung umfasst. Eine
teamübergreifende Zusammenarbeit und ein
enges Zusammenspiel zwischen den einzelnen
Fachleuten stellt sicher, dass der Kunde optimal
beraten wird. Kontinuierliche Investitionen in
die persönliche und fachliche Aus­ und Weiterbildung
der Mitarbeitenden sind die beste Investition
in die Zukunft einer Bank.
Tradition als Verpflichtung. Der Privatbank
der Zukunft wird es gelingen, aus Tradition
neue Werte für den Kunden zu schaffen.
Tradition im Private Banking bedeutet zum
Beispiel, Kunden über Generationen hinweg zu
begleiten und so zu verstehen, was ihnen und
ihren Familien wirklich wichtig ist. Langjährige
finanzielle Solidität ermöglicht es den Banken,
die notwendigen Investitionen in die Zukunft
zu tätigen. Gleichzeitig verpflichtet die Tradition
zur steten Verbesserung und kontinuierlichen
Weiterentwicklung. Dies ist die Grundlage, um
den Kunden bereits heute Lösungen für die
Welt von morgen zu bieten.

Moving towards the future,
Building on tradition
Combining tradition with a modern advisory
approach will be a key factor for success
in the future world of private banking.
2011 will be another year of relentless change.
Rapid technological progress, proliferating information,
and the increasing global interdependence
of government and business activity
– these are the hallmarks of our time. The financial
and economic crisis has highlighted and accelerated
these changes, and they will continue
to have a major impact on the world of private
banking. However, the traditional foundation of
this industry – the client’s need to preserve and
increase wealth – will remain unchanged.
Stability and discretion. In an age of
global interconnectedness, when personal information
is increasingly easy for both companies
and countries to access, another client
need is gaining importance: the desire for discretion
and privacy protection. The traditions of
Switzerland as a financial center and of Swiss
private banking are based on these values. In
times of high volatility in the markets and widespread
political uncertainty, the financial center
in the heart of Europe continues to be a safe
haven for investors. Switzerland’s advantages
as a banking location are obvious: a wealth of
experience in international asset management,
enormously innovative service providers, high
educational standards and a strong currency, to
name but a few.
Client excellence. However, stability and
discretion alone will no longer be enough to
meet the constantly rising expectations of clients
in private banking. Client excellence – the
quest for superior quality when advising clients
and developing individual, tailored solutions –
will become increasingly important as a way
Hans nützi
CHief exeCutive offiCer
Clariden leu
for banks to set themselves apart. The client’s
individual risk profile and personal needs form
the basis for developing and refining an individual
investment strategy as part of a multi­stage,
structured advisory process. And because life
never stands still, this is not a one­time process.
On the contrary: the investment strategy of the
future will be under continual review – whenever
called for by changes in the financial markets or
in the client’s personal circumstances. This approach
builds confidence and forms the basis for
a long­term, successful client relationship.
First-class specialists and teams of experts.
Staff recruitment and training are crucial
to achieving the goal of client excellence. The
quality of advice offered by a bank depends on
its employees’ specialist knowledge and interpersonal
skills. First­class client advisors must be
experienced, professional, genuine, and persuasive.
It must be the stated goal of each and every
employee not only to meet client expectations,
but to exceed them. Following a comprehensive
advisory approach requires a product range
that includes specialized tax, financial, retirement,
estate and succession planning services
in addition to traditional investment advice.
Cross­team collaboration and seamless interaction
among individual specialists are vital to
ensure that each client receives optimal advice.
Regularly investing in the personal and technical
training and development of employees is the
best investment a bank can make in its future.
Tradition shows the way forward. The
private bank of the future will find new ways
to build on its traditional commitment to preserving
and increasing clients’ wealth. In private
banking, tradition means advising clients generation
after generation based on a thorough
understanding of what is really important to
them and their families. Tradition in private
banking also refers to the bank’s long history
of solid financial health – a vital foundation
if the necessary investments in the future are
to be made. At the same time, tradition in private
banking implies an obligation to strive
for constant improvement and innovation. It
is this commitment that allows a bank to
continue offering clients solutions for the
world of tomorrow – today.

swiss private banking
die «sichere» anlage –
wunschdenken oder realität?
Die Börsenentwicklung hat in den Jahren
2007 und 2008 zahlreichen Anlegern ernüchternde
bis schmerzliche Erfahrungen
beschert. In der Folge akzentuierte sich ein
in der Fi nanz industrie bekanntes Phänomen:
Immer dann, wenn schwache Aktienkurse die
Depotwerte ins Minus drücken, wird der Ruf
nach Sicherheit laut. Nicht selten verbinden
Anleger damit aus einer Enttäuschung heraus
den Entscheid, künftig gar nicht mehr oder
viel weniger in Aktien zu investieren und veräussern
– oftmals im ungünstigsten Moment
– ihre Aktienbestände. Der auf den Börsencrash
folgende Aufschwung führt allerdings in der
Regel dazu, dass Ver lust ängste rasch wieder
verfliegen und die Risikobereitschaft wieder
zunimmt. Je länger die Aufschwungsphase andauert,
desto ausgeprägter wird der Wunsch,
eingefahrene Verluste wieder wettzumachen.
Ein Trugschluss der letztlich damit endet, dass
der neuerliche Einstieg in Aktien zu einem ungleich
höheren Preis erfolgt.
Das zuweilen nervenzehrende Auf und Ab
an den Börsen wird in der Fachwelt relativ
nüchtern als ‘Volatilität’ (lat. volatilis für fliegend;
flüchtig) bezeichnet. Sie gibt die Bandbreite
der Schwankungen eines Kursverlaufs in der
Vergangenheit wieder. Je höher die Volatilität,
desto risikoreicher gilt eine Aktie. Bei starken
Kursausschlägen hat eine Aktie somit eine hohe
Volatilität. Für den Anleger bedeutet das die
Chance auf schnelle und hohe Kursgewinne,
aber auch das Risiko ebenso schneller Verluste.
Soweit die Theorie. In der Praxis hingegen weist
der US­Ökonom und Yale­Professor Robert
Shiller immer wieder darauf hin, dass die Volatilität
an den Aktienmärkten zu hoch sei. Seine
einfache Begründung: der heutige Aktienkurs
widerspiegelt den Gegenwartswert künftiger
Dividenden. Da Dividenden aber relativ geringe
Schwankungsbewegungen aufweisen, sollte
im Umkehrschluss auch der Aktienmarkt relativ
schwankungsfrei sein. In der Grafik (rechte Seite)
wird der tatsächliche Verlauf des amerikanischen
Aktienmarktes und der theoretisch faire
Wert gemäss den abdiskontierten Dividenden
sichtbar. Die vorübergehend starken Abweichungen
des Aktien markts gegenüber seinem
fairen Wert zeigen, dass sich die Aktienmärkte
langfristig zwar gemäss dem theoretischen
Wert verhalten und somit effizient sind, in der
kurzen Frist hingegen zu Unter­ und Übertreibungen
neigen.
Eine Frage der Selbsteinschätzung und
des Zeithorizontes. Es ist ein offenes Geheimnis,
dass eine Vielzahl von Anlegern ihre eigene
Risikoneigung und/oder Risikofähigkeit überschätzen.
Gleichzeitig werden die Schwankungen
an den Börsen oftmals unterschätzt. Zwar
könnte ein Anleger hier einwenden, dass die
Aktienmärkte in den letzten zehn Jahren eine
negative Rendite pro Jahr abgeworfen haben.
Tatsächlich beträgt die reale, also inflationsbereinigte,
Rendite beispielsweise für den amerikanischen
Aktienmarkt minus 4.5 Prozent pro
Jahr. Dehnt man den Zeithorizont allerdings
bis 1970 aus, so errechnet sich bereits eine
inflations bereinigte Rendite von jährlich rund
5.0 Prozent. Noch einmal 70 Jahre zurück, also
im Jahr 1900, zeigt sich per annum eine reale
(Aktien­)Rendite von 6.2 Prozent bzw. für Obligationen
von 1.9 Prozent.
Diversifikation heisst das Zauberwort.
Wer als Anleger den Schwankungen an den
Aktienmärkten wirksam begegnen will, kann
seinen Investitionszeitraum ausdehnen, also
über die Zeit diversifizieren. Eine weitere Hand­
lungsoption ist eine Diversifikation über die
verschiedenen Anlageklassen. Das Beimischen
anderer Anlageklassen, welche nicht oder nur
am Rande mit Aktien korrelieren, reduziert die
Wertschwankungen eines Portefeuilles nachhaltig.
Die Volatilität eines reinen Aktienport­
folios beträgt rund 20 Prozent, jene eines breit
diversifizierten Multi Asset Class­Depots, welches
nebst Aktien auch Obligationen, Alternative
Anlagen sowie wichtige Anlagethemen –
beispielsweise Rohstoffe – enthält, noch etwa
7 Prozent. Eine Volatilität von jährlich 7 Prozent
be deutet, dass die Rendite eines solchen Depots
mit einer bestimmten Wahrscheinlichkeit
Plus oder Minus 7 Prozent von der erwarteten
Rendite innerhalb eines Jahres abweichen kann.
Eine weitere Möglichkeit, die Wertschwankungen
in den Depots zu verringern, besteht
in der aktiven Bewirtschaftung desselben, auch
aktives Portfoliomanagement genannt. Ziel ist,
bei einem gegebenen Risiko eine möglichst
hohe Rendite gegenüber einem Benchmark
zu erwirtschaften oder bei einer bestimmten
Rendite ein möglichst kleines Risiko einzugehen.
So oder so, erfolgreiches aktives Portfoliomanagement
erfordert ein Höchstmass an
Investmentkompetenz und gilt in der Finanzindustrie
als eigentliche Königsdisziplin.

safe investMents –
wishful thinking or
realistic proposition?
In 2007 and 2008, many investors’ experience
of the stock markets ranged from
sobering to painful. What followed was an
all­too­familiar phenomenon in the finance
industry: Whenever depressed share prices
drag the value of security accounts down into
the red, calls for a safe haven suddenly take
on renewed urgency. It is not unusual for disappointed
in vestors to choose precisely this
moment – often the worst possible moment –
to sell off their shareholdings and decide never
again to invest in shares (or at least to do so
only on a far more modest scale). The upturn
that follows the crash is normally a potent
weapon to dispel widespread fears of losses,
however; and investors once again become
more willing to take risks. The longer an upturn
lasts, the more eager they become to recoup
their losses. This fallacy in turn moves them to
get back into shares at an overblown price.
In the trade, the stock markets’ sometimes
nerve­wracking ups and downs are dispassionately
referred to as «volatility» (from the Latin
word volatilis: flying; fleeting). Volatility describes
the corridor within which a share price has fluctuated
in the past. The greater the volatility, the
more risky the share is perceived to be. Shares
that experience pronounced fluctuations are
thus said to be highly volatile. Volatility gives investors
the chance to pick up fast and substantial
gains – but also exposes them to the risk of
equally swift losses. That, at least, is the theory.
In practice, as US economist and Yale professor
Robert Shiller repeatedly stresses, stock markets
overdo the volatility game. His reasoning is simple:
Today’s share price reflects the present value
of future dividends. However, since dividends
fluctuate only to a relatively small degree, one
ought to be able to assume that the stock mar­
dr. tHomas steinemann
CHief strategist
vontobel grouP
ket too would be relatively
free from such gyrations.
Figure 1 plots the actual
course of the US stock
market and the theo ­
re tical fair value in light
of discounted dividends.
The stock market’s significant
temporary deviations
from fair value reveal
two things. One is that, in
the long run, stock markets
do indeed behave in
line with their theoretical
value and are there­
s&P 500 versus fair value based on
disCounted dividends
s&P500 vs auf disCounted dividends basierender fairer wert
S&P 500 Index
fore efficient. The other is that, in the short run,
they have a tendency toward understatement
and exaggeration.
A question of self-assessment and investment
horizons. It’s an open secret that
many investors overestimate their own risk preferences
and/or risk tolerance. Conversely, they often
underestimate the magnitude of fluctuations
on the stock markets. Investors might object that
the stock markets have actually delivered negative
per­annum yields for the past decade. And
indeed, the real (i.e. inflation­adjusted) return
on, say, the American stock market has been
­4.5% per year. Push the timeline back to 1970,
however, and you already find an inflationadjusted
return of around 5.0% per annum. Go
back another 70 years to 1900 and the 110­year
average return on (share) investments stands at
6.2% per annum – against 1.9% for bonds.
Diversification – the magic word. Investors
who want an effective way to contain the
stock market’s vacillations can leverage the
time factor by varying the period for which they
Fair value based on discounted dividends
Fairer Wert basierend auf Dividends
1870 1880 1890 1900 1910 1920 1930 1940 1950 1960 1970 1980
invest. Another useful tool is to diversify their
spread of asset classes. Mixing in different asset
classes whose performance correlates only minimally
or not at all with share prices can sustainably
reduce fluctuations in the value of a portfolio.
A share­only portfolio has a volatility of
roughly 20%, whereas a widely diversified multiasset­class
portfolio embracing shares, bonds,
alternative investment forms and key areas such
as commodities can reduce this figure to around
7%. An annual volatility of 7% indicates a certain
probability that the return on such a portfolio
may deviate from the targeted yield by plus or
minus 7% within a given year.
Another way to rein in fluctuations in the
value of a portfolio is, quite simply, to manage
the portfolio actively. Active portfolio management
aims either to maximize the return relative
to a defined benchmark at a given level of risk, or
to minimize risk at a given level of return. Doing
this successfully requires tremendous investing
skills and is regarded in the finance industry as
a high art.
Source: Grossmann und Shiller 1981, Shiller 1987 (Chart), Vontobel Analyse

swiss private banking
2011 – wieder ein
anspruchsvolles anlageJahr
Auch im Jahr 2011 blicken die Anleger einem
anspruchsvollen Jahr entgegen. Die
andauernden Währungsspannungen zeigen,
wie wichtig aktives Währungsmanagement in
den nächsten Monaten sein wird. Der mit dem
steigenden Weltproduktionsanteil Chinas einhergehende
Wettbewerb um eine schwächere
Währung zeigt langsam seine Auswirkungen.
Das gegenseitig kompetitive Abwerten der
Währungen, das überspitzt als «Währungskrieg»
bezeichnet wird, sorgt bei der geringfügig stabilisierten
Weltwirtschaft weiterhin für Anspannung.
Japan wird aufgrund seiner beschränkten
politischen Macht in diesem «Währungskrieg»
der Verlierer sein. Klar bleibt, dass die anderen
asiatischen Aktienmärkte vorzuziehen sind. Aufgrund
der Volatilität zwischen US­Dollar und
Euro bzw. Euro und Schweizer Franken haben
diese tendenziell Aufwärtspotenzial. Störfaktor
könnten mögliche Massnahmen durch die
Behörden sein, welche die Wettbewerbsnachteile
gegenüber dem an den US­Dollar gebunden
chinesischen Yuan befürchten. Korea
und auch Brasilien beispielsweise denken über
Kapitalkontrollen nach, um nach den massiven
Kapital flüssen, die in den letzten zwölf Monaten
in Schwellenländer geströmt sind, eine Blasenbildung
in ihren Märkten durch ausländisches
Anlagekapital zu verhindern.
In den USA wird das Wirtschaftswachstum
auch im Jahr 2011 unterdurchschnittlich
blei ben. Traditionell sind der Bau­ und
Kon sumbereich die Konjunkturtreiber einer
Wirtschaftserholung. Dies dürfte diesmal
schwierig werden. Der Versuch der US­Zentralbank,
über billigere lange Zinsen/Obligationenkäufe
den Bausektor zu stimulieren, wird
angesichts des Angebotüberhangs geringe
Erfolgswahrscheinlichkeit haben. Nach der
Bekanntgabe des quantitativen «Easing» (der
geldpolitischen Lockerung) der USA wird nun
in einigen Ländern die Inflationsentwicklung
wichtig werden. In den Schwellenländern machen
Grund­ und Rohstoffe im Warenkorb besonders
viel aus. Ein weiterer USD­bedingter
Anstieg der Rohstoffpreise kann zur Steigerung
der Inflation der Schwellenländer sowie zu weiteren
Zinserhöhungen insbesondere in China
führen. In den USA wird die Konsumentenpreisinflation
mit rund 1 Prozent vom unterdurchschnittlichen
Lohnwachstum tief gehalten.
Auch in den Kernländern Europas und in der
Schweiz bleiben die Inflation und die Inflationsaussichten
für 2011 unterdurchschnittlich.
Eine geringe Gefahr der Zinserhöhungen in
den westlichen Ländern und Japan bedeutet
vor derhand weniger Korrekturbedarf für Obligationen.
Im Fokus bleibt jedoch vorerst das
quantitative «Easing», d.h. wie deutlich fällt die
erwartete Senkung der langen Zinsen durch
Käufe von Staatsanleihen der USA aus? Eine
mögliche Erhöhung der Leitzinsen in den Emerging
Markets kann zu einer Patt situation bei
den langen Zinsen der Schwellenländer führen,
indem die US­Langzinssenkung hilft und die Erhöhung
der kurzen Zinsen durch die Emerging
Markets stört. Auch im Jahr 2011 werden Anleger
daher wohl Corporate Bonds Investment
Grade gegenüber Staatsanleihen vorziehen und
selektiv auf Schwellenländer anleihen setzen.
Die Wirtschaft Europas ihrerseits hat
sich bisher gegenüber den USA gut gehalten.
Die gehaltene Konjunktur ist auf den
verhältnis mässig hohen Anteil von Exporten insbesondere
in Deutschland zurückzuführen, die
speziell von der Nachfrage der Schwellenländer
nach Industriegütern und Autos gestützt wird.
Die europäische Wirtschaft wird weiterhin in
«harte» Kernländer um Deutschland und «weiche»
Peripherieländer mit hoher Verschuldung
und Refinanzierungssorgen gespaltet sein. Der
immer noch recht hohe Euro ignoriert tenden­
ziell weiter die anhaltende Unsicherheit um die
Verschuldung und Staatsdefizite der Peripherieländer,
insbesondere Portugal und Griechenland.
Die Anleihen dieser Länder haben ihre Abwärtstendenz
gegenüber härteren Währungen,
besonders dem Schweizer Franken, wieder aufgenommen.
Der Euro bleibt also riskant, auch
wenn das quantitative «Easing» den US­Dollar
über eine erwartete abnehmende Zinsdifferenz
gegenüber deutschen oder schweizerischen
Anleihen unter Druck gesetzt hat.
Aktien dürften im Jahr 2011 weiterhin
volatil bleiben. Strukturelle globale Ungleichgewichte
können die Spannungen im Weltfinanzsystem
aufrecht halten. Die Stichworte für
Aktien lauten auch weiterhin: hohe Schwankungen
innerhalb der Länder und Branchen, Trend
zu gegenseiti ger Währungs abwertung der Regionen
mit Auswirkungen auf die Unsicherheit
der Gewinnentwicklung und mittelfristige Gefahr
von protektionistischen Massnahmen oder
von Kapitalkontrollen.
Fazit: Die weiter fehlende weltweite Balancierung
zwischen Ländern mit Leistungsbilanzüberschüssen
wie China und solchen mit Defiziten
wie USA und die Peripherieländer Europas,
sowie die teilweise grosse Staatsverschuldung
der G7­Länder führt wie 2010 auch 2011 zu
einer anhaltenden Anspannung des globalen
Finanzsystems. Dies bedeutet für die nächsten
Quartale überdurchschnittliche Volatilität (Risiken)
in wichtigen Anlageklassen, vor allem Aktien
und Währungen. Daher wird auch in 2011
die Bedeutung eines dynamischen Wealth Management
für Privatkunden hoch bleiben.
Zu favorisieren sind u.a. zu Beginn von 2011
Technologie­Aktien, die vom schwachen Dollar
profitieren sowie Telekom­Aktien aufgrund der
hohen Dividendenrendite.

2011 looks like being yet another challenging
year for investors. Persistent currency­
related tensions underscore how important it
will be to proactively manage currency positions
in the months ahead. Countries’ conscious
efforts to «achieve» a weaker currency – a byproduct
of China’s growing share of global
production – are beginning to bite. The competitive
devaluation of currencies, pointedly referred
to by some as a «currency war», is keeping
a strong element of tension in a global econ ­
omy that can barely be said to have stabilized.
Owing to its limited sphere of political influence,
Japan is destined to lose this war. Preference
must clearly be given to the other Asian stock
markets. Volatility between the US dollar and
the euro on the one hand and between the euro
and the Swiss franc on the other indicate upside
potential for these currencies. At the same time,
governments that see themselves at a competitive
disadvantage relative to the yuan, which is
tied to the US dollar, could cause problems by
intervening. Following the huge flight of capital
to emerging markets over the past twelve
months, Korea and even Brazil, for example, are
weighing up the option of capital controls to
prevent foreign investment capital from pumping
up bubbles on their markets.
US economic growth will remain below
par in 2011. Though construction and consumption
are the traditional drivers of economic
recovery, that could prove a tall order this time
around. Given the prevalence of excess supply,
the Fed’s attempts to stimulate the construction
industry with cheap long­term interest rates and
bond purchases have little prospect of success.
Now that the quantitative easing of US monetary
policy has been announced, inflation will
take on fresh significance in some countries. In
the emerging markets, basic and raw materials
account for a sizeable chunk of the basket of
2011 – another challenging
Year for investors
dr. CHristian a. Camenzind
CHief exeCutive offiCer
bank sal. oPPenHeim jr. & Cie.
(sCHweiz) ag
goods that is used to measure inflation. A further
dollar­driven rise in the prices of commodities
could thus fuel inflation in emerging countries
and lead to further hikes in interest rates, especially
in China. In the USA itself, below­average
wage growth is keeping consumer price inflation
down to around 1%. Inflation and the likely inflationary
trend in 2011 will also remain below
average in the core European markets and in
Switzerland. The relatively mild threat of rising
interest rates in Western countries and Japan
means that, for the time being, there is little need
for a correction in the bond segment. Either way,
the focus initially remains on quantitative easing,
i.e. the extent to which the purchase of US
Treasury bonds leads to cuts in long­term interest
rates. The possibility of higher base rates in
the emerging markets could put long­term rates
in these countries into stalemate, with lower US
rates at the long end helping while higher shortterm
interest rates in the emerging markets represent
a hindrance. In 2011, investors will there ­
fore once again prefer investment grade corporate
bonds to government bonds, while selectively
adding emerging market bonds to the mix.
Europe’s economy has so far stood up
well to the USA. Its stable health is attributable
to a relatively high proportion of exports
(especially in Germany), buoyed primarily by
emerging markets’ demand for capital goods
and autos. The divide in the European economy
– between the «hard core» of countries centered
around Germany and the «soft» peripheral nations
that are plagued by heavy debt and refinancing
worries – looks set to continue. The
euro remains fairly strong and still appears to
be generally ignoring the persistent uncertainty
surrounding government debt and budget deficits
in the peripheral countries, above all in Portugal
and Greece. These countries’ bonds have
nevertheless resumed their downtrend against
harder currencies, particularly the Swiss franc.
The euro thus remains exposed to risks, even if
quanti tative easing has now put pressure on the
US dollar, as the latter’s interest rate differential
relative to German and Swiss bonds is now expected
to decline.
Stocks and shares will probably remain
volatile in 2011. Structural global imbalances
could cause tensions in the world’s financial system
to persist. Stocks will therefore continue to
fluctuate sharply within individual countries and
industries. The trend toward competitive devaluation
in different regions will continue, adding
to uncertainty about profit growth and keeping
alive the mid­term danger of protectionist intervention
and/or capital controls.
The bottom line is that a global disequilibrium
persists between countries with current
account surpluses (such as China) and those
that are still running deficits (such as the USA
and the peripheral European nations) – not to
mention the heavy debts that burden some of
the G7 countries. As in 2010, these influences will
do nothing to alleviate the strain on the global
financial system in 2011. Above­average volatility
(and risk) in major asset classes – mainly
stocks and currencies – is thus on the cards for
the next few quarters. Dynamic wealth management
will thus remain as important as ever for
private clients in 2011.
At the start of the new year, precedence
should be given to tech stocks that benefit from
the weak dollar and telecoms shares that benefit
from substantial dividends, for example.

swiss private banking
finanZplatZ schweiZ –
das private Banking iM uMBruch
Finanzkrise. Trotz erster Anzeichen einer wirtschaftli
chen Erholung war das Jahr 2010 von
den Ausläufern der Finanzkrise geprägt. Auch
auf dem Finanzplatz Schweiz hat diese tiefe
Spuren hinterlassen. So haben gerade im Private
Banking Elemente wie Vertrauen, Transparenz
und Sicherheit an Bedeutung hinzugewonnen.
Getrieben von einer zu hohen Staatsverschuldung
und mit Blick auf zusätzliches fiskalisches
Potenzial haben zudem mehrere Industrie­
nationen massiven politischen Druck auf die
Schweiz ausgeübt.
Im Zentrum der Kritik stand zumeist das
Schweizer Bankkundengeheimnis, dem im Private
Banking grosse Bedeutung beigemessen
wird. Die Schweiz hat auf politischer Ebene zu
Lösungen Hand geboten, welche eine anonymisierte
Abführung von Steuern an den ausländischen
Fiskus bzw. eine Regularisierung
unversteuerter «Altgelder» ermöglichen. Damit
soll der Schutz der Privatsphäre eines Kunden
– der schweizerischen Rechtstradition entsprechend
– auch in Zukunft gewährleistet werden.
Die Erfahrungen aus der Finanzkrise haben zu
einer weiteren Intensivierung der Finanzmarktregulierung
beigetragen. Die härtere Gang­
art der schweizerischen Finanzmarktaufsicht
schlägt sich vor allem auch in zusätzlichen Erfor­
dernissen im Bereich der grenzüberschreitenden
Vermögensverwaltung nieder.
Einleitung des Strukturwandels. Die
jüngsten Entwicklungen sind allerdings nicht
primär als Form der Krisenbewältigung zu verstehen.
Vielmehr handelt es sich um den Beginn
eines Strukturwandels, der aufgrund der mangelnden
Bereitschaft vieler Banken, den Kunden
und seine Bedürfnisse in den Mittelpunkt
zu stellen, längst überfällig war. Der Widerstand
der Bankbranche gegen die Tendenz zur Überregulierung
ist zwar angebracht, wird aber
nichts daran ändern, dass sich die Rahmenbedingungen
grundlegend verändert haben.
Anspruchsvollere Kundenbedürfnisse, zunehmende
Transparenz, grössere Produktevielfalt,
steuerliche Aspekte und erhöhte regulatorische
Komplexität bei gleichzeitigem
Margenzerfall prägen die neue Realität im
Private Banking. Hinzu kommen steigende
Kosten zur Erschliessung von Spezialisten wissen
oder zur Etablierung moderner Informatiklösungen
als besondere Herausforderung. Die
Positionierung des Finanzplatzes Schweiz als
international führendes Zentrum für die Vermögensverwaltung
scheint also gefährdet. Doch
trotz schwieriger Rahmenbedingungen sind die
Vorteile unseres Finanzplatzes ungebrochen.
Besonders hervorzuheben sind etwa die ausgeprägte
internationale Beratungskompetenz,
die volkswirtschaftliche und währungsseitige
Stabilität, die Rechtssicherheit und die hervorragende
Finanzmarktinfrastruktur.
Innovative Geschäftsmodelle. Die Banken
sind allerdings angehalten, ihre Geschäftsmodelle
kritisch zu hinterfragen und gegebenenfalls
anzupassen. Gerade agile kleinere
Institute haben dabei die Chance, sich als innovative
Finanzdienstleister zu behaupten.
Um dem drohenden Konsolidierungsdruck
zu entrinnen, müssen sie vom klassischen
Banken modell Abstand nehmen, indem sie
sich auf einzelne Teile der Wertschöpfungs­
kette beschränken. Für eine Privatbank bedeutet
dies die exklusive Fokussierung auf eine un­
abhängige Anlageberatung und Vermögens­
verwaltung.
Das Problem der «kritischen Grösse», das
heisst der Überlebensfähigkeit insbesondere
von kleineren Banken, kann entschärft und die
Unabhängigkeit im Kerngeschäft gewahrt werden,
indem jene Bereiche ausgelagert werden,
welche aus Sicht der Kunden kaum Mehrwert
generieren. Es sind dies typischerweise hoch
standardisierte Abläufe im Wertschriftenhandel,
bei der Verarbeitung, im Zahlungsverkehr oder
beim Betrieb der Informatikinfrastruktur. Gleichzeitig
gilt es, die Expertise in Fachbe reichen wie
Anlagen, Vorsorge oder Steuern sowie im grenzüberschreitenden
Geschäft gezielt auszubauen.
Konkret sind die Besonderheiten der Domizilländer
der jeweiligen Kunden zu beachten,
indem beispielsweise die nationalen Steuergesetzgebungen
Eingang in die Anlageüberlegungen
finden. Denn es ist davon auszugehen,
dass der Anteil an deklarierten Geldern
bzw. die Nachfrage nach entsprechenden
Lösungen nochmals deutlich ansteigen wird.
In der Beratung erweisen sich deshalb das Hinzuziehen
bankinterner Fachspezialisten, die Erschliessung
externer Expertennetzwerke sowie
die Nutzung von IT­Systemen als unerlässlich.
Wandel als Chance. Für Privatbanken, welche
sich frühzeitig mit den geschilderten Trends
auseinandersetzen, bedeutet der Wandel im
Private Banking eine Chance. Denn die Zusammenarbeit
mit spezialisierten Partnern ermöglicht
diesen Instituten den ungeteilten Fokus auf
die Kernkompetenzen in der Anlage beratung
und Vermögensverwaltung. Die Orientierung
an den traditionellen Werten des Schweizer Private
Bankings, eine auf Sicherheit bedachte Anlagephilosophie
sowie der Verzicht auf eigene
Produkte unterstützen dabei eine nachhaltige
Befriedigung der Kundenbedürfnisse.

the swiss financial centre –
new realitY in private Banking
Financial crisis. Despite initial signs of an
economic recovery, the repercussions of the financial
crisis had a strong impact in 2010. The
crisis also left its mark on Switzerland as a financial
centre. In private banking in particular,
values such as trust, transparency and security
have thus taken on increased im portance. Also,
driven by excessive national debt and keen to
leverage additional fiscal potential, several other
industrialised nations have put massive political
pressure on Switzerland.
The criticism related primarily to Swiss banking
secrecy, which is of central importance to
private banking. On a political level, Switzerland
has offered solutions that will enable the anonymous
payment of taxes and a reg ularisation of
undeclared assets. This should, in keeping with
Swiss legal tradition, ensure that client privacy
remains intact going forward.
The consequences of the financial crisis
have contributed to a further intensification of
market regulation. The tougher stance taken
by the Swiss regulatory authority is above all
re flected in additional requirements in terms of
cross­border asset management.
Introduction of structural changes. The
most recent developments should not be interpreted
as being first and foremost a form of
crisis management. They are much more the
beginning of a long­overdue structural change
arising the fact that many banks are not yet in a
position to make clients’ needs their first priority.
Although it is reasonable for banks to oppose
the trend toward over­regulation, the fact is
that the general framework has been altered
fun damentally.
dr. stePHan a. zwaHlen
dePuty CHief exeCutive offiCer,
maerki baumann & Co. ag
Private bank
More sophisticated client needs, greater
transparency, expanding product ranges, tax
considerations, increased regulatory complexity
and the erosion of margins are leaving their
mark on the new reality of private banking.
Furthermore, the rising cost of leveraging specialised
expertise and developing advanced IT
solutions itself presents significant new challenges.
Switzerland’s position as a leading international
financial centre for asset management
thus appears to be at risk. Despite the difficult
prevailing conditions, however, the strengths
of our financial centre remain intact. Examples
include our proven international advisory expertise,
the country’s stable economy and currency,
legal security and an excellent financial market
infrastructure.
Innovative business models. Banks are
thus obliged to take a critical look at their business
models and adapt these where necessary.
Smaller, more flexible institutions in particular
have an opportunity to assert themselves as innovative
financial services providers. In order to
avoid the looming pressure to consolidate, they
must leave behind the classic banking model by
focusing only on specific areas within the value
chain. For a private bank, this translates into
focusing solely on providing independent investment
advice and asset management.
The problem of achieving critical mass
– i.e. the ability of smaller banks in particular
to survive – can be alleviated and the independence
of core business maintained by
outsourcing those segments that add little
value from the client’s perspective. Typically,
these segments include heavily standardized
securities trading processes, order processing,
money transfers and the operation of IT infrastructures.
At the same time, expertise in specialist
areas such as investments, pension planning
or tax, as well as cross­border business, should
be expanded in a focused manner.
Specifically, the individual conditions prevalent
in the countries in which clients are domiciled
must be considered. Applicable taxation
laws, for example, must be taken into account
when making investment decisions. This is also
because it is very likely that the ratio of declared
assets and the demand for corresponding solutions
will increase significantly. For advisory services
it is essential not only to increase in­house
expertise, but also to tap external specialist networks
and make further use of IT systems.
Change as an opportunity. For private
banks that recognised these trends early on and
judged them astutely, the new reality in private
banking presents an attractive opportunity.
Collaboration with specialised partners allows
them to focus firmly on their core competencies
in investment advice and asset management.
Commitment to the traditional values of Swiss
private banking, an investment philosophy that
focuses on safety first and the absence of inhouse
products are all further powerful tools to
help these banks consistently satisfy the needs of
their clients.

122 | views magazine

All
night
HE IS A LEGEND, WITH A TRACK
RECORD OF GRAND RACES AND
FAMOUS NAMES. THAT’S THE
FIRST PART OF THE STORY.
through
the
reproduced with the kind permission of Ramp magaziNe and Lukas Hüni ag
TexT .
Doug Nye .
FoTos.
Roman Kuhn.
SHE IS BEAUTIFUL AND LOOKING
FOR FUN. A LADY, A FERRARI
250 LM AND LONDON AT NIGHT.
THAT’S THE SECOND PART.
views magazine | 123

Back in the early-1960s, Ferrari – with great reluctance – was weaned
away from traditional front-engined racing car configurations, and developed
instead a new range of ‘mid’ or ‘rear-engined’ designs. Always wary
of the technically conservative attitudes of their boss, Enzo, the Maranello
engineers began cautiously. To avoid creating a rear-engined car which
pushed its driver too far forward into the front suspension bay, they began
with ‘three-cylinders-long’ V6 engines in 1960-61. Maserati perhaps
shamed Maranello by biting the bullet, and immediately launching a
3-litre V12-cylinder rear-engined sports-prototype, the Tipo 63, in 1961.
In contrast to the powerful, nimble-handling Ferrari Dino 246SP V6, the rival
Maserati with its ‘six-cylinders-long’ V12 engine confirmed much of Mr
Ferrari’s prejudice: tail-heavy, oversteering and pretty much a pendulum
looking for somewhere to have an accident.
But for 1963, the Old Man of Maranello signed up two new British recruits
for his works racing team. Both had considerable experience of taming
rear-engined car designs. One was driver/engineer John Surtees – the
former seven-times motorcycling World Champion – and the other was
engineer/driver Michael Parkes. They had no fears of developing a rear-engined
V12 sports-prototype, and through the winter of 1962-63 they did
124 | views magazine
just that with the Maranello factory’s chief engineer Mauro Forghieri and
his colleagues. The result was the 3-litre Ferrari 250P sports-prototype –
with a V12 engine behind its driver – and this model immediately proved
totally dominant in 1963 Sports Car World Championship racing.
But meanwhile, Ford of Detroit had been negotiating feverishly to
buy Ferrari, eager to pocket ready-made racing credibility to impress and
attract the moneyed new youth market freshly identified by America’s
marketeers. Old Man Ferrari strung them along just long enough to win
alternative patriotic funding from Fiat of Turin. Ford, rebuffed, then opted
to beat Ferrari at his own game – in the endurance racing arena up to and
including the most prestigious sports car race of each year, the Le Mans
24-Hours. Their Ford GT sports-prototype programme was launched initially
to confront Ferrari’s 3-litre-plus V12s with American 4.2 and 4.7-litre
V8s. In support, American company Shelby was encouraged to confront
Ferrari in what The Old Man always regarded as the important Grand
Touring Car Championship – developing 4.7-litre V8-engined Coupes
to crush the established – and thus far dominant – line of 3-litre front-
engined GTO Berlinettas.

All through the night
views magazine | 125

126 | views magazine

All through the night
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BY 1964, TIMES WERE CHANGING.
FERRARI OF ITALY WAS A MINNOW,
A TINY BOUTIQUE MANUFACTURER,
COMPARED TO FORD OF AMERICA.
In the winter of 1963-64 Ferrari reviewed its options. Larger V12 engines
of 3.3 and 4-litres capacity were developed for improved versions of
the Champion rear-engined 250P Spiders. It was plain that a GTO replacement
would require enhanced power and torque to combat the new
Cobra-Ford V8s, and that better aerodynamics could also help. The idea
emerged that a new rear-engined Gran Turismo could simply be achieved
by roofing-in the open-cockpit 250P, and delivering competitive performance
against the muscular V8 Cobras by adopting the newly-enlarged
3.3-litre V12 engine – the ‘275’ unit – in place of the 3-litre ‘250’.
To qualify as an FIA homologated Gran Turismo, a minimum 100 units
were required. Even though Ferrari would only build 39 of the shapely
250GTOs overall, The Old Man had achieved FIA acceptance by claiming
they were merely a variant of his old-established 3-litre 250GT line,
founded way back in the 1950s. The ever-acquiescent FIA had accepted
the notion without protest.
By 1964, however, times were changing. Ferrari of Italy was a minnow,
a tiny boutique manufacturer, compared to Ford of America. And when
the technical commission of the FIA found itself asked to accept the new
roofed-in, rear-engined Ferrari 250LM as a Gran Turismo ‘production’ car
they shocked The Old Man by refusing to do so. They would not accept
that it was a development of what had gone before, nor that sufficient
250LMs were in production to warrant such acceptance. So Ferrari’s rebodied,
front-engined – and still only 3-litre – 250GTO/64s found themselves
left to fight alone for the 1964 GT World Championship, while the
would-be GT Ferrari 250LM Berlinettas were accepted only as sports-prototypes,
to race against their open-cockpit works team sisters – the latest
275P and 330P Spiders – and the futuristic new Ford GTs.
While Maranello rang to Mr Ferrari’s noisy condemnation of his former
friends at the FIA and – worse – within the national Automobile Club Italiana,
who refused to help his case for the 250LM, many existing customers
– mainly GTO operators - paid their money and bought the new cars.
The first prototype was a true 250LM with just a 3-litre V12 engine, but
all subsequent examples used the larger 3.3-litre unit as ‘275’LMs. The
factory insisted on the lesser designation, ‘250LM’, in a brazenly hopeless
attempt to support the fiction that the new car was simply a rear-engined
evolution of the GTs which had preceded it.
The new model’s welded tubular-steel Tipo 577 chassis was built by
Vaccari of Modena, owing much to the open-cockpit 250P but stiffened
in the mid-ship sill sections. The bodywork was designed by Pininfarina
and hand-crafted in aluminium sheet by Scaglietti of Modena. When
128 | views magazine
launched at the October 1963 Paris Salon, the first prototype chassis ‘5149
LM’ created a sensation. Customers were led by British Ferrari importer
Colonel Ronnie Hoare, for his Maranello Concessionaires team; by American
importer Luigi Chinetti’s North American Racing Team (NART); and by
Belgian importer Jacques Swaters’ Ecurie Francorchamps.
The customer drivers’ first impressions of the roofed-in racer were unforgettable.
Most of them were accustomed to the front-engined 250GTs
and GTOs. Now, as they settled into the new car’s claustrophobic, little
cockpit not only did they seem cramped close to the centreline, with the
big chassis sill box between their outboard hip and the flimsy aluminium
door, but also right amongst the action – with a fabulous, uninterrupted
view of the road ahead. They could see hardly anything of the car’s nose
as it shelved downward from the windscreen base. And glancing in the
external mirror provided a great view of…the engine-bay air scoop on
the car’s rear hip.
THE NEW 250LM WAS SOMETHING
OF A SENSITIVE FLOWER, PRONE TO
FAILURE IF MISHANDLED, AND
NORMALLY OUT-GUNNED BY ITS
REGULATION SPORTS-PROTOTYPE
OPPOSITION. BUT IT WOULD EMERGE
WITH GREAT HONOUR.
Once on the move the 250LM immediately felt like a purebred racer,
unmistakably rear-engined, but stable, strong. After very few laps, the
confined cockpit would heat up, sometimes quite unbearably, while absolutely
ringing to the raucous din of that V12 engine immediately behind
the driver’s shoulders. Hot water and oil was piped through the chassis
tubes between rear-mounted engine and front-mounted radiators, thus
passing to-and-fro alongside the cockpit. The 250LM brakes caused early
doubts, seldom seeming either reliable or adequate. And the tiny multiplate
clutch between engine and transaxle unit would become another
Achilles heel, requiring sensitive care, and proving vulnerable if abused.
So the new 250LM was something of a sensitive flower, prone to failure if
mishandled, and normally out-gunned by its regulation sports-prototype
opposition. But it would emerge with great honour…
The first prototype 250LM ran in the Sebring 12-Hours race in Florida
on March 21. But co-driven by Tom O’Brien/Charlie Kolb, it caught fire after
30 laps and burned out. The Spa 500kms on May 17 saw front-engined
250GTO/64s finish 1-2-3, with earlier-style 250GTOs fourth and sixth. New
250LMs failed in the Nurburgring 1,000kms on May 31, and on June 22 in
the Le Mans 24-Hours, the Belgian 250LM of Pierre Dumay/Gerald Langlois
van Ophem placed only 16th.

But on July 5 this startlingly daring – if controversial – roofed-in sportsprototype
at last made its mark in a fabulous motor race. This was the
Reims 12-Hours, run on the triangular 8.3km Reims-Gueux public road circuit,
in the Champagne country of northern France. This superfast course,
with its notoriously narrow roadway, hosted a race which the great Denis
Jenkinson of the British ‘Motor Sport’ magazine described as «…a flat-out
12-hour battle, won and lost through driving, pit control, mechanics, tactics
and team work; in fact the perfect long-distance motor race…».
The 12-Hours was revived that year for the first time since 1958. It
was unusual for its midnight Le Mans-type run-and-jump start; the cars
racing from midnight Saturday into the dawn, to finish at noon on Sun-
day. This truly staggering motor race, run at virtual Grand Prix pace
throughout – quite unlike the then-standard ‘nurse the car to finish’
philosophy of long-distance competition – was won by a brand-new
rear-engined Ferrari 250 Le Mans Berlinetta – chassis ‘5907 LM’ – piloted
by Formula 1 World Champion Graham Hill and his Swedish team-mate,
Joakim Bonnier.
Graham described the events of that Saturday night and Sunday
morning in his autobiography ‘Life at the Limit’:
«All the cars were lined-up in echelon in front of the pits for the start
of this race and the pit area was floodlit for the occasion. It was a very
colourful scene. All the town had come out, late as it was, to see the start
and all round the pit area was brilliantly lit, but the rest of the track was in
pitch darkness.
«We stood waiting for the seconds to tick away and then the flag
dropped and off we went. The start was tremendous. I managed to get
to the car fairly quickly, leapt in, started it up – you have to remember to
put the lights on as well – and away we rushed into the inky blackness.
I couldn’t see a damned thing, I went straight out of the pits sideways,
across the road with a great deal of opposite lock, drifted into the direction
I wanted to go and shot off in the lead, closely following by Richie
Ginther in the new 4.2-litre Ford GT.
«The Ford was going to give us a lot of trouble, but behind that
came John Surtees in another Ferrari» – an identical 250LM (actually
chassis ‘5909 LM’) run for the factory by Luigi Chinetti’s North American
Racing Team.»
«Having stood about in the very bright light of the pit area, it is most
frightening to find yourself rushing out at full bat into the blackness with
lamps which seem quite useless. It takes a while for your eyes to get
accustomed to the darkness. My first thought was: ‘Where the hell am I
going?’. Because all you can see is bright lights reflected in your rear view
mirror; they shine straight into your eyes, which doesn’t help matters at
all. Anyway, I had made a pretty good start and I was able to pick my way
among the cornfields fairly well.
«Going down towards the hairpin, and just before we turned sharp
right and came back to the pit area, I suddenly had a rather nasty feeling
that somebody was gaining on me at a fantastic rate. I kept well to the
right and, lo and behold, John Surtees went by me like an express train,
straight up the road towards Reims, missing the corner completely. Well, I
thought, that’s handy! I’ve got rid of him for a while.
«Well, of course, Surtees didn’t waste any time getting turned
around and rejoining the race. In fact he lost only a few seconds, but
Ginther and I started having a ding-dong. Surtees caught us up and
then we had an almighty thrash in the dark with speeds of up to 180mph
– on this very narrow road. One moment we would be bursting into
the brightly-lit pit area and then rushing out again into the darkness.
Unfortunately, just after the pit area, which of course was extremely
bright, we went over the brow of a hill and the road turned right into
the very fast right bend – almost flat-out in the dark. We were just lifting
a fraction and the car was getting into a great hairy old drift. With all
this slip-streaming going on as well, you had to be careful that the draught
from the other cars didn’t unsettle your car. We were having a tremen-
dous race. It was really an exciting fight and motor racing par excellence.
It was also pretty hair-raising.
«We managed to hold our lead and drew out a little bit, leaving the
other two to scrap away behind us. I came in and handed over to Jo. The
race went on all through the night but eventually the Ford packed up
with some sort of trouble…
«The tremendous duel went on between Jo Bonnier and myself in
Ronnie Hoare’s car and the works car of Bandini and Surtees. There were
just no holds barred.
«The pit stops were going to be decisive, because obviously it is no use
driving round and knocking fractions of a second off if they are all going
to be thrown away during the pit stops. If a pit stop lasted a second longer
than it should, it was going to be difficult to make that up on the road.
«With just two hours to go, with myself in our car and Surtees in the
other, I had a lead of about 40 seconds, and I had to come in for one
more pit stop; Surtees had to make one more as well, but I wasn’t quite
I brought the car into the pits and refuelled it in 66 seconds. This, of
course, immediately cancelled-out our lead and turned it into a deficit
of 22 seconds with Surtees in the lead.
«Bonnier took over from me and went out and the gap got to about
40 seconds – because obviously when you leave the pits, you lose time
joining the circuit and getting up the speed again; with a heavy load
of fuel he was not able to lap at the same speed as Surtees was lapping
with a lighter fuel load.
views magazine | 129

«About ten minutes later, Surtees called into his pits and they had to
change their brake pads. So they not only had to refuel and change their
tyres, but they had to fit new brake pads as well – they had been completely
worn out. This set them back quite a while; it’s a long job changing
pads and it completely messed-up their race strategy.
«With Surtees stuck in the pits, Bonnier was able to go into the lead.
By the time Surtees rejoined, Bonnier had a 1¾-minute lead over him. But
Surtees started to whittle down the time on Bonnier. Jo would ease up a
bit – realising that he had about 100 seconds in hand over Surtees – and
he naturally wanted to be sure of finishing the race. Surtees was going like
a dingbat trying to whittle his lead down. He was knocking about three or
four seconds a lap off Bonnier, which meant that at the end of the race he
ought to be just about level with him…
THE 250LM TRIUMPHED AT LE MANS,
AND AT REIMS, AND IT TRIUMPHED AGAINST ALL
ODDS. THAT IS WHAT THE CAR WAS ALL ABOUT.
«The whole thing was getting pretty exciting, but then – all of a sudden
– Surtees was overdue. Finally he came limping back towards the
pits with a flat tyre. In one of his do-or-die efforts to make up time he
had locked-up a front wheel under braking at one of the hairpins and
worn straight through the tyre and burst it. He had to come in and have it
changed, which put him right out of the running.
«We were able to coast home and win the race. It was most exciting –
one of those unforgettable experiences… The race was run from start to
finish like a two-hour Grand Prix and each time a driver got into the driving
seat for his stint he just ran as fast as he could. The Ford did expire out
on the circuit, but the two Ferraris were going just as strongly at the end
as they had at the beginning, having done the equivalent of six Grands
Prix on a high-speed circuit where the engine is really going full-bore for a
longer period than anywhere except Le Mans.
«The Ferraris had beautiful engines and they came through with flying
colours. In the dark we were reaching about 180mph down the straight
and averaging 130mph per lap including two 40mph hairpins, which
gives you some idea of the high speeds involved…».
In fact Graham Hill and Jo Bonnier’s gorgeous Italian racing red and
Cambridge-blue Ferrari 250LM had scored a major World Championshipqualifying
victory for Colonel Hoare’s British-based Ferrari team. They had
completed no fewer than 1,522 miles’ racing at an average speed of over
126mph, and Graham had also set the fastest race lap at 133.437mph – on
lap 254!
130 | views magazine
John Surtees and Lorenzo Bandini finished second in their works-prepared/NART-entered
sister Ferrari 250LM, less than a lap behind, and the
Maranello Concessionaires team’s triumphant day was capped by Michael
Parkes/Ludovico Scarfiotti brining their red-and-blue front-engined Ferrari
250GTO/64 home third overall, as winner of the important Grand Touring
category.
Colonel Hoare recalled that 1964 Reims 12-Hours classic as having
been: «Quite our most outstanding race, and one of the most exciting
long-distance races of all time…».
The roofed-in, rear-engined Ferrari would remain confined Internationally
to the sports-prototype category for 1965, as that season saw Shelby
American’s Ford V8-engined Cobra Daytona Coupes chime onto full song
with GT World Championship-winning effect. Even so, Mr Ferrari still
emerged with the last laugh, as the NART-entered 250LM – chassis ‘5893
LM’ – of Masten Gregory/Jochen Rindt won the Le Mans 24-Hours from
the sister Ecurie Francorchamps car – chassis ‘6313’ – of Pierre Dumay/‘Taf’
Gosselin.
And back at the Reims 12-Hours that year, while big 4.4-litre Ferrari
365P2 sports-prototypes finished first and second, Willy Mairesse/’Beurlys’
finished third in Ecurie Francorchamps’ 250LM ‘6023’ and private owner
David Piper finished third in his BP-green 250LM – ‘5897’ – co-driven by
Richard Attwood.
Richard’s most vivid memory of the LM at Reims perhaps sums up
this immortal Ferrari’s best feature for spectators: «It had small-diameter
exhaust tail-pipes and when wound up to around 8,200-8,300rpm, absolutely
full-throttle on the long, long straight past the pits, it really made the
most FABULOUS sound! It absolutely shrieked, and I remember hearing it
lap after lap while I was resting in the paddock behind the pits. It just kept
howling by during that night at Reims – and I didn’t need a lap chart to tell
me we were still in the race, and still in with a chance…».
That is what the 250LM was all about. Mr. Ferrari had taken a chance
with the FIA, which for once did not pay off. But even against that background
of political failure, and racing outside the category for which it
had been intended, the model still triumphed at Le Mans and at Reims,
and remains today one of the most mouth-watering of Maranello’s entire,
magnificent breed.

All through the night
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All through the night
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136 | views magazine

FeRRaRi 250 lm
COUNTRy OF ORIGIN
Italy
MANUFACTURED
1963-66
PRODUCTION VOLUME
32
BODy DESIGN
Pininfarina S. p. a., Turin
WEIGHT
850 kg
ENGINE
V12
CAPACITy
3,286 cc
ENGINE POWER
320 bhp
SPECIFIC OUTPUT
97.3 bhp/l
MAxIMUM TORQUE
32 m/kg at 5,500 rpm
TRANSMISSION
Five-speed
SIZE
4,270/1700/1150 mm
TOP SPEED
295 kph
Jo Bonnier and Graham Hill, winners of the
12-Heures de Reims, on their Ferrari 250 LM,
№ 7, Maranello Concessionaires, châssis № 5907;
Reims – Gueux, France, 05/07/64
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138 | views magazine
Loro Piana · Brunello Cucinelli
Diane de Clercq · Agnona · Ballantyne · Antonio Fusco
Cruciani · Malo · Fedeli · Hawick Cashmere · Striking
Augustinergasse 50, 8001 Zürich
T +41 (0)44 211 30 75, F +41 (0)44 212 49 59
www.cashmerehouse.ch

shopping VieWs
ZuriCh at its Best
INTERNATIONALE DESIGNERMODE, KOSTBARE JUWELEN UND WERTVOLLE UHREN
– EIN VIRTUELLER BUMMEL üBER DIE WELTBERüHMTE SHOPPINGMEILE
UND IHRE ATTRAKTIVEN SEITENGASSEN.
INTERNATIONAL DESIGNER FASHION, PRECIOUS JEWELS, MAGNIFICENT TIMEPIECES…
TAKE A VIRTUAL STROLL DOWN ZURICH‘S WORLD-FAMOUS SHOPPING STREET AND
THE ATTRACTIVE ALLEYS THAT LINE IT.
views magazine | 139

shopping views
les bouTiques sainT-Phil
Die Saint-Phil Boutiquen prägen das Bild der Bahnhofstrasse,
exklusive Herrenmode hier, festlich-elegante Damenmode
dort. Von Artioli bis Zilli reicht das Sortiment:
«For every occasion – for every mood». Für die Damen
warten die extravaganten Schöpfungen aus dem Hause
Ella Singh, ebenso wie die avantgardistisch gewagten
Abendkleider von Talbot Runhof. Nahezu alle grossen
Labels finden sich bei Saint-Phil.
Zilli, die erfolgreichen Franzosen
sind mit einem Shop im Shop ver-
treten. Meisterhaft kombinieren sie
Seide, Pelz und Leder zu exquisiten
Kreationen mit denen Mann die
Blicke der Kenner auf sich zieht.
Die Accessoires überstehen auch
anstrengende Reisen unbeschadet.
The Bahnhofstrasse would be unthinkable
without the exclusive men’s
wear and festive, elegant ladies’
wear on display at the
Saint-Phil boutiques. The
range has something for
every occasion and every
mood – from artioli to
Zilli. Extravagant garments
from Ella Singh
await the ladies, as do
daring avant-garde
evening dresses from
Talbot Runhof. Virtually
every major label is
in stock at Saint-Phil.
Zilli even has its own
shop in the shop. The successful
French brand masterfully combines
silk, fur and leather to form exquisite
men’s wear guaranteed to turn the
heads of true fashion connoisseurs.
The matching accessories will
survive even the most arduous of
journeys in pristine condition.
140 | views magazine

The FuR FacToR
In Russland sind sie immer noch begehrt
wie zur Zarenzeit, jetzt kommen die Chinchilla-Pelze
auch in Europa wieder in Mode.
Kein Wunder, der seidige Glanz des Fells und
seine enorme Dichte machen eine Chinchilla-Jacke
zu einem wahren Kunstwerk,
das seiner Trägerin für viele Jahre Freude
und Wärme spenden wird. Bei Fourrures
Wyssbrod haben wir diesen eleganten
Chinchilla Poncho für grosse Auftritte
entdeckt. Bei den Pelzspezialisten an der
Hausnummer 3 beginnt das Shopping-
Paradies Bahnhofstrasse. Sie beraten die
Kunden mit jahrzehntelanger Erfahrung
und sorgen auch nach dem Kauf für den
Wert erhalt des kostbaren Stückes. Pelz
lässt sich mehrfach umarbeiten und damit
immer wieder an die jeweiligen Modeströmungen
anpassen.
In Russia, they are still as prized as they were
in the days of the czars. Now, chinchilla furs
are coming back into fashion in Europe too.
And no wonder: The silky sheen of this fur and
its astonishing density makes every chinchilla
jacket a work of art in its own right – a work
that will bring warmth and joy to its wearer
for many, many years. fourrures Wyssbrod
dis covered this elegant chinchilla poncho: the
perfect way to make a big splash. The expert
furriers draw on decades of experience to
advise their clients; they also ensure that, after
it has been sold, every precious fur retains its
value. Furs can be reworked repeatedly and
hence aligned and realigned with the everchanging
whims of fashion.
cashmeRe house
Bei der Verarbeitung von Kaschmir-
Wolle zu allerfeinster Mode macht
den Italienern keiner etwas vor. Die
grossen Namen sind bekannt, aber
wenn absolute Spitzenqualität gefragt
ist, schwören wahre Kenner auf das
Label Cruciani. Kaschmir aus dem
Hause Cruciani gilt als das Non-Plus-
Ultra und wird selbstverständlich
ausschliesslich in Italien produziert. Den
Grundstock für die Unternehmungen
legte Vater Arnaldo, heute führen seine
beiden Söhne je einen Geschäftszweig: Luca Caprai, CEO von Cruciani führt das Kaschmir-
Unternehmen und ist stolz, dass seine Familie Produkte herstellt, die mit Sinnlichkeit und
Qualität assoziiert werden. Tatsächlich ist da nicht nur das Kaschmir: 1971 erfüllte sich
Vater Arnaldo einen Lebenstraum und stieg mit dem Kauf des Landgut Val di Maggio in
Monte falco in den Weinbau ein. 1988 übernahm Sohn Marco und etablierte das Weingut
als führenden Produzenten der Gegend. Mit dem Montefalco Sagrantino keltert er einen
der berühmtesten DOCG Weine. «Ob Wein oder Kaschmir, die Familie Caprai hat sich mit
jeder Faser absoluter Spitzenqualität verschrieben», schwärmt Eva Beckwith, Inhaberin des
Cashmere House in der Augustinergasse.
When it comes to transforming cashmere wool into the finest fashions, nobody does it quite like
the Italians. Everyone knows the big-name players. When nothing but absolute top quality will
do, however, those in the know swear by the Cruciani label. Cashmere from Cruciani is regarded
as the non plus ultra – and is naturally produced exclusively in Italy.
The cornerstone of the company‘s business success was laid by father Arnaldo, whose two sons
now each head up a different line. Luca Caprai, Cruciani‘s CEO, leads the cashmere side of the
business. He is proud that his family makes products whose primary associations are sensuousness
and quality. There is more to the family business than «just» cashmere, however. In 1971,
Arnaldo fulfilled the dream of a lifetime, snapping up the Val di Maggio estate in Montefalco and
starting out as a wine-grower. His son Marco took the reins of this line in 1988 and went on to
establish the estate as one of the region‘s leading producers. His Montefalco Sagrantino indeed
ranks among the most famous DOC(G) wines there is. In both lines, «the Caprai family devotes
every ounce of its energy to one and the same goal: delivering nothing but the very best,» says
Eva Beckwith, owner of Cashmere House in the Augustinergasse.
views magazine | 141
shopping views

142 | views magazine
eRmenegilDo zegna
Es gibt Männer, die in zwei Welten zuhause sind. Sie tragen
den Geist des Orient und des Okzident in gleichem Masse
in sich, perfekt ausgeglichen wie Yin und Yang. Diese
Männer finden wir in Europa oder Amerika, doch ihr Beruf,
ihre Liebe oder ihr Schicksal führen sie auf ihrem Weg unabdingbar
in Richtung Osten. Ermenegildo Zegna würdigt
diese faszinierenden und modernen Menschen, indem er
die Herbst-/ Winterkollektion 2011 China widmet, einem
Land, das der Marke wohlbekannt ist: Vor 20 Jahren betrat
Zegna erstmals chinesischen Boden, und hat sich seitdem
im Reich der Mitte erfolgreich etabliert.
Die gedeckten Farben der Kollektion machen sie zum
idealen Begleiter auf Reisen in ferne Länder und Kulturkreise.
Die Silhouette der Kollektion bestimmen Anzüge und
Jacken mit drei Knöpfen und gerade geschnittenen Schultern
sowie figurbetonte Hosen mit hohem Aufschlag, die
unter weiten Raglan-Mänteln getragen werden.
Zum Auftakt des zweiten Jahrhunderts seiner Unternehmensgeschichte
realisierte Ermenegildo Zegna die
erste «LIVE-D»-Modenschau für die Präsentation der
Herbst-/Winterkollektion 2011. Entwickelt wurde die
multi-dimensionale Show in Zusammenarbeit mit
dem Regisseur James Lima, der schon bei der Produktion
des Films «Avatar» als Visual Consultant mitwirkte.
There are men who are at home in two different worlds,
indwelt in equal parts – and, yin and yanglike – in
perfect balance by the spirits of orient and occident. You
will find them in Europe and America; yet their job, love
or, quite simply, fate drives them inexorably eastward.
Ermenegildo Zegna paid homage to these fascinating
contemporaries by dedicating its fall/winter 2011
collection to China, a country to which the brand is no
stranger. Zegna first set foot on Chinese soil 20 years
ago and has since established a successful presence in
the Middle Kingdom. The collection’s subdued colors
make it the ideal companion when traveling to far-off
countries and cultures. Its silhouette is dominated by
suits and three-buttoned jackets, by straight-cut shoulders
and slim-fit trousers with ample turn-ups, all of which can be
worn under flowing raglan overcoats.
At the dawn of the company’s second century, Ermenegildo
Zegna staged the first LIVE D fashion show to present its fall/
winter 2011 collection. The multidimensional show was
created in collaboration with director James Lima, a visual
consultant to the «Avatar» film production.

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Ein gelber Diamant hat die New Yorker einst berühmt gemacht,
dabei war er nie wirklich zu verkaufen, bei einem Schätzwert von
an die 30 Millionen Dollar bliebe der Kreis potentieller Kunden
überschaubar. Nur zwei Frauen durften ihn je tragen: Mrs. Mary
Whitehouse und natürlich Audrey Hepburn in «Breakfast at Tiffany’s».
Heute sichert ein exklusives Abkommen mit einer Mine in Australien,
dass Tiffany weiterhin gelbe Diamanten im Sortiment hat – wenn die
auch meistens etwas kleiner ausfallen.
A yellow diamond once made the New York jeweler famous, though it was never
really up for sale. An estimated value of 30 million dollars would, in any case, have
pared down the list of potential customers. Only two women ever had the privilege
of wearing the diamond: Mary Whitehouse and, of course, Audrey Hepburn in
«Breakfast at Tiffany‘s». Today, an exclusive agreement with a mine in Australia
ensures that Tiffany still features yellow diamonds in its range – albeit on a
slightly smaller scale.
TiFFany & co.
gübelin
Madagaskar, die Perle im indischen Ozean,
die sich vor 500 Millionen Jahren von Afrika
losriss und zum Paradies der Edelsteine
wurde, inspirierte die Juwelen-Spezialisten
von Gübelin zu ihrer erfolgreichen Kollektion.
Die neuen Varianten der Linie «Madagaskar»
bestechen mit ihrer graziösen
Leichtigkeit. Erhältlich sind Bracelet, Kollier
und Ohrclips in 18 Kt. Weiss- und Gelbgold
oder mit Brillanten gefasst in Weissgold.
Madagascar, the pearl of the Indian Ocean,
which tore itself away from the African continent
500 million years ago and became a
veritable paradise for precious stones, gave
the expert jewelers at Gübelin the inspiration
for their successful collection. The lightness
and sheer gracefulness of the new models in
the «Madagascar» line is what catches the
eye. A bracelet, necklace and clip earrings
are available in 18-carat white and yellow
gold, or with diamonds set in white gold.

meisTeR
In vierter Generation präsentieren die
Künstler in den hauseigenen Meister-
Ateliers zauberhafte Broschen mit
auserlesenen Edelsteinen und feinsten
Perlen, wie die fast schon legendären
Käfer, Schmetterlings- und Kleeblatt-
Editionen. Die Gold- und Silber-
schmiede sind stets für eine überraschung
gut, wie die hier gezeigten
Geckos unter Beweis stellen.
Now into their fourth generation, the
magicians at Meister‘s in-house ateliers
have conjured up a series of bewitching
brooches set – like the legendary ladybirds,
butterflies and clover leaves – with
choice stones and the finest pearls. The
company‘s goldsmiths and silversmiths
always have a trick up their sleeve: witness
these enchanting geckos.
choPaRD
Anlässlich des 150. Firmenjubiläums
trumpft Chopard
mit diesem Papageien-
Kollier aus der «Animal World
Collection» auf. Aus Weissgold
ausgefasst mit Diamanten
im Birnen-Schliff (13
ct), Diamanten im Navette-
Schliff (12 ct), Aquamarine
im Birnen-Schliff (69 ct), Diamanten
(17 ct) und blauen
Saphiren.
To mark its 150th anniversary,
Chopard has crafted this
stunning parrot necklace as
part of its Animal World
Collection. White gold set
with pear-shaped diamonds
(13 carats), navette-cut
diamonds (12 carats) pear-cut
aquamarines (69 carats),
white diamonds (17 carats)
and blue sapphires.
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bucherer
Das Bedürfnis, sich mit schönen Dingen zu schmücken, ist so alt wie
die Menschheit. Dieses Kollier von Bucherer mit weissen und schwarzen
Brillanten kommt diesem «Grundbedürfnis» auf edle Weise entgegen.
Passend dazu gibt es auch einen Armreif und Ringe.
The desire to decorate oneself with beautiful objects is as old as humanity.
And what better way to realize the age-old dream than with this white-
and black-diamond necklace from Bucherer? A matching bracelet and
rings are available.
Les AmbAssAdeurs
Die Olympia-Linie der «Mikimoto Milano
Collection by Giovanna Broggian»: Halskette
aus Weiss- und Roségold mit 1.9 Karat
Diamanten und sieben schwarzen Perlen
mit einem Durchmesser von 11 bis 12 mm,
sowie passendes Armband mit drei Perlen
und 2 Karat Diamanten.
The Olympia line – part of the Mikimoto
Milano collection by Giovanna Broggian.
Wrought from white and pink gold, the necklace
features 1.9 carats of diamonds and seven black pearls
with diameters of 11 to 12 mm. The matching bracelet
has three pearls and two carats of diamonds.

Ausgefallene Materialien prägen die brandneue
spektakuläre Kollektion Évasions von Cartier:
Die Schmuckstücke aus Roségold sind mit
Diamanten, schwarzem Lack, Prehniten,
Chalzedonen und Chrysopras besetzt.
Unusual materials are the distinctive feature of the
brand-new Évasions collection from Cartier. This pink
gold family of jewels is set with diamonds, black lacquer,
prehnites, chalcedony and chrysoprases.
caRTieR
bRegueT
Extravagant und doch zurückhaltend, eine
Aura des wahren Luxus’ verströmen die
Haute Joaillerie-Kollektionen von Breguet.
Die Serie «La Rose de la Reine» reflektiert
die Stimmungen Marie Antoinettes bei
ihren Spaziergängen im Park.
Spectacular yet still understated, the Haute
Joaillerie collections from Breguet command
an irresistible aura of pure luxury. The series
«La Rose de la Reine» reflects the moods of
the estate in which Marie Antoinette‘s enjoyed
her royal strolls.
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bucheReR
Verspielte Weiblichkeit
in klassisch-sportlichem
Gehäuse: Carl F. Bucherer
präsentiert mit der
brandneuen Patravi
ChronoDate Ladies
den idealen Begleiter für
Liebhaberinnen mechanischer
Zeitmessung.
Unterschiedliche Modelle
erlauben Diamanten an
der Lünette mit weissem
oder perlmuttfarbenem
Zifferblatt und wertvollen
Armbändern.
A classic sporty case that
still manages to ooze playful
femininity: In the shape of
the Patravi ChronoDate
Ladies, Carl F. Bucherer has
come up with the ideal companion
for devotees of the
mechanical chronograph.
Varying models feature a
bezel set with diamonds, a
stylish white or mother-ofpearl
dial, plus a selection of
elegant straps.
148 | views magazine
bRegueT
Armbanduhr Le Petit
Trianon, passend zur
gleichnamigen Schmuck-
Serie. 18 Karat Weissgold
mit Diamanten in unterschiedlichen
Schliffen,
einzeln nummeriert
und signiert.
Le Petit Trianon wristwatch
to match the jewelry
series of the same name.
18-carat white gold, individually
numbered, hallmarked
and sporting diamonds
with a variety of cuts.
haRRy winsTon
Die Avenue Squared
A2 New york setzt einen
ikonographischen Design-
Akzent – inspiriert vom
Rhythmus New Yorks.
Technisch beeindrucken
die zwei Zeitzonen, optisch
die perfekte Komposition
aus abstraktem
Design und klaren Linien.
Für die ganz anspruchsvolle
Dame gibt es eine
auf 20 Exemplare limitierte
«full diamond version».
The avenue Squared a2
New york – inspired by the
unique rhythm of the Big
Apple – is an iconic design
from Harry Winston. The
dual time zone feature is impressive,
as is the timepiece‘s
head-turning appearance:
the perfect blend of abstract
design and strong, clear
lines. For exceptionally dis-
cerning clients, a full diamond
version is available in a limited
edition of just 20 pieces.
blancPain
Die Manufaktur präsen-
tiert ein Sondermodell,
um das Fest der Liebenden
zu feiern: Das Modell
Saint-Valentin 2011 ist
eine ebenso glückliche
wie effiziente Verbindung
von ausgeprägter Feminität
und uhrmacherischer
Spitzentechnik.
This year, Cupid is once
again the source of inspiration
for Blancpain‘s creative
passion. A special model has
been unveiled to celebrate
Saint-Valentin 2011. As
ever, this model too blends
voluptuous femininity with
the very best in watch-
making sophistication.
Tag heueR
Die Carrera Calibre 5
Lady zeigt sich von ihrer
«brillanten» Seite: Gleich
28 Diamanten zieren das
Edelstahlgehäuse, und
die Lunette wartet sogar
mit 32 Diamanten auf.
Dank der polierten Krone,
dem kratzfesten Saphir-
glas und der Wasserdichtigkeit
macht die Carrera
zudem noch einen sport-
lichen Eindruck.
The Carrera Calibre 5 Lady
adds more than a touch of
sparkle: No fewer than 28
diamonds grace the polished
steel case – while the bezel
features 32 more diamonds.
A polished crown, scratchresistant
sapphire crystal
and water resistance add an
unmistakably sporty feel to
this brilliant timepiece.

PaRmigiani
Schon der Name verheisst
Magie: Kalparisma
Ouranos! Auf dem
weissen Perlmuttzifferblatt
prangen Brillanten auf den
Ziffern. Das Gehäuse ist
wie das Armband aus 18
Karat Roségold gefertigt
und mit Brillanten gefasst.
Eine Komposition von edler
Schönheit, die dennoch
Understatement ausstrahlt.
The name alone – Kalparisma
Ouranos – has a whiff
of magic to it! Diamonds
adorn the mother-of-pearl
dial. The case and strap are
made of matching 18-carat
pink gold and again studded
with diamonds. A
unique combination that
exudes elegant beauty and
modest understatement at
the same time.
SEEN aT GÜBELIN time
caRTieR
Die Montre Captive
de Cartier erobert den
Betrachter in der Tat
mit ihrer extravaganten
Schönheit, ihrem bahnbrechenden
Design. Ein
Traum in Roségold, auf
dem Zifferblatt weisen
Diamanten die Zeit, und
dann widersteht sie auch
noch Wassertiefen bis zu
30 Metern.
It is the extravagant
beauty and ground-breaking
design of the montre
Captive de Cartier that,
as the name suggests, captures
both the eye and the
heart. Diamonds show the
time on this dream in pink
gold. Water-resistant to a
depth of 30 meters.
auDemaRs PigueT
Audemars Piguet präsentiert
seine fast schon
aristokratische Royal Oak
Kollektion. Das selbstaufziehende
Modell mit
Datum und Sekunde
glänzt mit 32 Diamanten
und ist dabei auch noch
wasserdicht.
Audemars Piguet proudly
presents its royal Oak
collection – a collection
indeed fit for a king.
The self-winding model
featuring date display and
center seconds trumps
up with 32 diamonds
and is water-resistant.
SEEN aT LES amBaSSaDEurS
choPaRD
Die Imperiale-Kollektion
macht ihrem Namen alle
Ehre: Eine subtile Allianz
aus einfachen Formen
gepaart mit majestätischer
Erscheinung, dabei stets
feminin mit diesem gewissen
Etwas. Die Imperiale
gibt es in unterschiedlichen
Ausführungen und
Grössen mit oder ohne
Diamanten, in Edelstahl
oder Gold, mit Quartz-
oder Automatikuhrwerk
oder als Chronographen.
The Imperiale collection
certainly lives up to its
name. A subtle alliance of
simple forms and unabashed
majesty, of femininity
and the subliminal
magic that defies definition.
Several models and sizes are
available, with or without
diamonds, in stainless steel
or gold, and fitted with a
quartz, self-winding or
chronograph movement.
Zones
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PaRmigiani
Die Meister aus Fleurier
präsentieren mit der
Tonda Hémisphère allerfeinste
Uhrmacherkunst.
Das Gehäuse aus 18 Karat
Roségold mit Automatikwerk,
Zifferblatt Havanna
und Krokolederband zeigt
Stunden, Minuten, kleine
Sekunde, zweite Zeitzone,
doppelte Tag/Nacht-
Anzeige und Datum.
The Tonda Hémisphère
from Parmigiani Fleurier is
a masterful timepiece. The
case is made of 18-carat
pink gold. The Havana
dial on this self-winding
movement features hours,
minutes, small seconds, a
dual time zone display, a
day/night display for either
time zone and the date.
SEEN aT GÜBELIN
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blancPain
Die Uhrenmarke Blancpain
setzt 2011 die im Vorjahr
begonnene Neuinter-
pretation ihrer Kollektion
Villeret fort. Die Manufaktur
aus Le Brassus enthüllt
als Exklusivität die erste
Villeret Demi-Fuseau
Horaire, eine Uhr, bei
der die zweite Zeitzone
in Halbstundenschritten
verstellt werden kann.
In 2011, Blancpain has continued
the reinterpretation
of its Villeret collection that
it began a year earlier. One
exclusive timepiece from
the Le Brassus stable is the
first Villeret Demi-fuseau
Horaire – a unique watch
with a second time zone
that can be set in half-hour
increments.
choPaRD
Vor zehn Jahren trat
die Tonneau Kollektion
ihren Siegeszug an, jetzt
erweitert Chopard sein
Sortiment um die extraflache
L.U.C. xP Tonneau.
Bestechend schön von
vorne, lohnt sich doch ein
Blick auf die Rückseite,
dort gibt ein Saphirglasfenster
den Blick auf das
Kaliber 3.97 frei.
The Tonneau wrote the first
chapter in its impressive
success story ten years ago.
Now, Chopard has added
the extra-thin L.u.C. XP
Tonneau to its collection.
Captivating when seen from
the front, its reverse view –
where a sapphire case-back
reveals the Calibre 3.97 –
is equally enthralling.
ulysse naRDin
In limitierter Auflage von
jeweils 500 Exemplaren
in Rotgold und Platin stellt
Ulysse Nardin El Toro vor.
Das neue Meisterstück
vereint die Gehäuse-Materialien
der Moonstruck mit
dem legendären Werk des
Ewigen Kalenders.
Lunette und Drücker sind
aus Keramik gearbeitet
und der Saphirglasboden
gibt Einblick in das Manufakturwerk.
Ulysse Nardin’s El Toro is a
limited-edition chronograph
totaling 500 pieces in red
gold and 500 in platinum.
The latest masterpiece marries
the materials used in
the Moonstruck case to the
company’s legendary perpetual
calendar movement.
Bezel and crown are made
of a ceramic substance. A
sapphire case reveals the
inner secrets of this handcrafted
timepiece.
SEEN aT LES amBaSSaDEurS
bucheReR
Für Liebhaber des Ewigen
Kalenders, präsentiert Carl
F. Bucherer die Manero
ChronoPerpetual. Das
Design beeindruckt mit
einem zeitlos-sachlichen
Auftritt, der sich im Gehäuse
aus edlem Rotgold
oder modernem Edelstahl
fortsetzt. Und auf der Rückseite
gibt es wieder einen
Einblick in das spannende
Innenleben.
Perpetual calendar fans
will love the sublime art of
mechanical watchmaking
embodied by Carl F. Bucherer‘s
manero Chrono
Perpetual. The timeless
design is striking for its
unpretentious lines – a
theme equally reflected in
the choice of red gold and
polished steel cases. Once
again, the caseback provides
a window on the fascinating
internal workings.

haRRy winsTon
Durch den Einsatz von
Raumfahrttechnik und dem
neuen Werkstoff Zalium ist
es Harry Winston gelungen,
mit der Project Z6 eine
kompromisslose Sportuhr
zu schaffen. Die Kombination
von robuster ästhetik,
raffinierter Mechanik
und einem hochpräzisen
Uhrwerk wird gekrönt von
einem 24-Stunden-Alarm-
Uhrwerk mit Handaufzug.
Drawing on technologies
used in aeronautical
en gineering and a new
material called Zalium, Harry
Winston has crafted the
uncompromising feel of a
sports watch in Project Z6.
The compelling combination
of rugged esthetics, refined
mechanics and an ultra-precise
movement is crowned
by a new complication: a
hand-wound 24-hour
alarm clock movement.
Tag heueR
Bei der Monaco Twenty
Four Calibre 36 Chronograph
kommt erstmals
eine «dynamic absorber
protection» zum Einsatz,
die das Uhrwerk schützt;
bei einer Taktfrequenz
von 36‘000 Schlägen
pro Stunde sicher keine
schlechte Idee. In Anlehnung
an die grossen Rennen
von Le Mans prangt
auf dem Zifferblatt eine
auffällige «24».
The monaco Twenty four
Calibre 36 Chronograph
is the first model to feature
a dynamic absorber system
that protects the move-
ment. Given a clock frequency
of 36,000 beats per
hour, that is definitely not
a bad idea. The outsized
digits «24» dominate the
fine-brushed black dial, a
tribute to the time-honored
Le Mans races.
bRegueT
Verfeinerung und Eleganz
sind die Schlüsselworte für
die Classique-Kollektion.
Das Modell 5967 mit den
Breguet-typischen Zeigern
und Gehäuseboden aus
Saphirglas besticht durch
das vom Art Déco inspiririerte,
handguillochierte
Zifferblatt. Im Inneren
arbeitet ein mechanisches
Uhrwerk mit Handaufzug
Kaliber 506.2 und bietet
40 Stunden Gangreserve.
Refined elegance is the
only way to describe the
Classique collection.
The 5967 model features
typical Breguet hands,
a sapphire case-back and
an eye-catching, Art Décoinspired
dial where all the
engine-turning is by hand.
The hand-wound Caliber
506.2 mechanical movement
boasts a 40-hour
power reserve.
caRTieR
Zum ersten Mal bietet
Cartier einen selbstaufziehenden
Ewigen Kalender.
Die Montre Tortue
Quantième Perpétuel
Calibre 9422 MC gestattet
den Blick in ihr aufwändiges
Innenleben. Modern
und zeitgemäss präsen-
tiert sich das neueste
Modell der Tortue-Serie,
die schon seit einem
Jahrhundert die Herzen
echter Uhrenliebhaber
höher schlagen lässt.
Cartier has rolled out its first
ever self-winding perpetual
calendar movement. The
montre Tortue quantième
Perpétuel Calibre 9422
mC shows its intricate inner
workings in an open-work
dial. Timelessly modern, this
is the latest newcomer to
a Tortue series that has delighted
genuine enthusiasts
for the past century.
time Zones shopping
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views

advertising partners 2011 views
152 | views magazine
Blancpain · Breguet · Bucherer
cartier · cashmere house · chopard
clariden leu · credit suisse
ermenegildo Zegna · güBelin ag
harry Winston · les amBassadeurs
saint-phil · lukas hüni ag
maerki Baumann & co. ag · meister
pictet & cie. · rolls-royce
sal. oppenheim jr. & cie. · tag heuer
tiffany & co. · Bank VontoBel
Zurich Versicherung
Badrutt‘s palace · hassler roma

Copyright
Established some 40 years ago, we handle with excellence and a passion for detail all aspects of collecting
historic automobiles. Our services include:
• buying and selling historic motorcars, both on our own account and for clients
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Mercedes Benz 710 SS Sindelfingen Sports Tourer 1930
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