In “No Time to Die” Daniel Craig once again saves the world. It is his last performance as James Bond – and hopefully just the beginning of our ADAM THE MAGAZINE cover heroe.
With a budget of 250 million US dollars, ”No Time to Die“ is the most expensive Bond film to date and Daniel Craig’s last. For 14 years the 52-year-old was the official secret agent 007 – and in many people’s opinion the best of all. That could not have been predicted. During filming for “Casino Royale” in 2006 outraged fans took to the streets and called for a boycott. They demanded a new, better casting of their favourite agent. Craig, according to widespread prejudice at the time was too ugly to play Bond. His face was allegedly too broad, his mouth too thin, his nose too bulbous – and in general, he was too blond. Craig, in turn, refused to dye his hair black and pacified the sceptics with simulated calm that they should wait for the result and then judge. “I had given 110 percent from the outset, claimed Craig, and then that became 115.” The decision for the part preceded unsettling discord: “I was afraid I would ruin my career.” But then he forced himself on, out of fear that he would otherwise end up in a pub drunk asking himself the most tormenting of all questions: What would have been if… and if only I had.
Daniel Craig with his gas flame blue eyes reinvented James Bond; he gave him a soul. For the first time in history Bond had a back story wound, a trauma, a past, this Bond loves, cries and almost dies. That makes him vulnerable and as such more attractive than all his predecessors. Craig’s Bond is broken and still stronger than every Bond before him. The British actor gave up smoking for the role – a battle! – and put on 20 pounds of muscles. We marvelled at him for the first time in “Casino Royale”, getting out of the water in short, blue swimming shorts. A balancing act that could have virtually deteriorated from super cool to ridiculous, but then Daniel Craig would not be Daniel Craig. Nevertheless, he did feel like a performing monkey: “Acting is at its best when you don’t have to be concerned with your outward appearance – that’s not possible with Bond.”
Daniel Craig first grew up in Liverpool, later in Hoylake with his mother and his stepfather in an artist’s environment. As early as the age of six he was interested in acting. He learnt his trade at the Guildhall School of Music & Drama in London. He was a waiter and helped in restaurant kitchens to makes ends meet. He had his first commercial success in 2004 in “Layer Cake”, in which he played a drug dealer. One year later he played in Steven Spielberg‘s five times Oscar nominated work “Munich” about the Olympic assassination attempt in Munich in the seventies. Then came “Casino Royale”. When he heard that he had been accepted for the part, he immediately went out in search of a bar and had the barman mix him his first pull through Martini. In 2008, two years later, the sequel “Quantum of Solace” by Marc Forster was released in cinemas, but it did not manage to continue the success of its predecessor. In the same year, Craig appeared in “Defiance”, which caused contention among critics. His performance in the American Stieg Larsson adaption “The Girl with the Dragon Tattoo” was remarkable as the investigative journalist Mikael Blomkvist alongside the equally wonderful Rooney Mara as the justice-seeking hacker, who is the driving force here and virtually occupies the “Bond part”. Ultimately she is the one who breaks the baddie’s neck as well as all those who get in her way in the meantime.
The slightly greying Craig finds he is too old to play the current Bond. He took it easier during filming, partly for the sake of his wife, Rachel Weisz, who refers to the Bond set as a boxing ring. He has had too many wounds already. Fittingly, Bond is in retirement in “No Time to Die” and enjoying the sweetness of not doing anything on Jamaica, when an old friend from the CIA asks him for help. A kidnapped scientist has to be rescued. Bond obliges. It is the famous “last job”, which is larger and more dangerous than anything before. Producer, Barbara Broccoli, does not want to answer the question of how the story around James Bond should continue: «It’s horrible to even think about it.» But everyone knows too well, Daniel Craig has raised the bar incredibly high.
Brief filmography – an excerpt:
“The power of One” (1992) by John G. Avildsen
“Elizabeth” (1998) by Shekhar Kapur
“Lara Croft: Tomb Raider” (2001) by Simon West
“Road to Perdition” (2002) by Sam Mendes
“Layer Cake” (2004) by Matthew Vaughn
“The Jacket” (2005) by John Maybury
“Munich” (2005) by Steven Spielberg
“James Bond 007: Casino Royale” (2006) by Martin Campbell,* BAFTA award nomination
“The Golden Compass” (2007) by Chris Weitz
“James Bond 007: Quantum of Solace” by Marc Forster
“Defiance” (2008) by Edward Zwick
„Cowboys & Aliens“ (2011) von Jon Favreau
„The Girl with the Dragon Tattoo“ (2011) von David Fincher
„James Bond 007: Skyfall“ (2012) von Sam Mendes
„James Bond 007: Spectre“ (2015) von Sam Mendes
„Star Wars: The Force Awakens“ (2015) von J. J. Abrams
„Knives Out“ (2019) von Rian Johnson, *Golden-Globe-Nominierung
„James Bond 007: No Time to Die“ (2021) von Cary Joji Fukunaga
One would expect a feeling of peace, of having arrived, but in La Réserve Eden au Lac Zurich it feels different. The 5-star hotel in Philippe Starck Design oozes a spirit of adventure and the urge to discover. And there are certainly plenty of exciting things to discover behind the historical walls.
In a prominent location, directly on the shore of Lake Zurich the former traditional house Eden au Lac now shines in new splendour. And bears a new name: La Réserve. Star designer, Philippe Starck, has given the 5-star luxury hotel a new face. The pretty façade with the lion’s heads and historic sculptures have remained in their entirety. The major change took place on the interior. Here you are met by red, planed wood like on a ship’s hull, oars, lying around as if they have been forgotten after a regatta, a collection of ship’s keels set in resin, bronze fórcole and oar forks from Venetian gondolas. The entire interior has been recreated like an elegant yacht club and emits an ambiance of thrilling sophistication. One has the feeling of having been invited to an adventure, of which you are not certain where it is leading, but you are certain that you want to experience it.
There are forty rooms and suites, which are divided into eight categories. Starck designed the rooms in the upper stories like ship’s cabins for seafarers on shore leave. Only, the stylish luxury version. There are two restaurants ensuring splendid culinary experiences. The owners of Eden Kitchen & Bar hope that it will soon become the Zurich “In Place», a lively meeting point. In the open kitchen, Marco Ortolani and his team conjure up veritable culinary pleasures, delicacies from all over the world and of course also local specialities such as Züri-Gschnätzlets with Rösti. The glass lift leads to La Muña. On the sixth storey, you have a 360-degree panorama view of the historic Zurich city centre, the lake and the distant Alps. On the replanted rooftops, you can listen to the rhythmic breaking of the waves and inhale the fresh breeze from the lake. Japanese-Peruvian specialities are served by the chef, Miya Gunji, under huge awnings. There is a choice between raw (crudo) and warm (caliente) dishes, such as tuna-ceviche or beef-entrecôte on truffle-teriyaki sauce. Inside the restaurant there are comfortable sofas in light leather on Persian style carpets. Now and then your eye meets a secret object that fills you with the urge to travel. The actual secret is however in the preparation of the fabulous dishes and cocktails. They will remain in your memory, like absolutely everything else here, for a long time to come.
Touching, enriching books are vehicles for the imagination; it is not majorly significant where the books transport the reader: they can thrill us with a journey around the world or straight through life and at best, they always penetrate our very core a little. These are our six favourite books in the past few months …
1. Der Junge, der Maulwurf, der Fuchs und das Pferd
A boy, alone and with a head full of questions, meets a mole that is always avidly looking for cake, is small, but fearless and achieves great things, a fox that is deliberately quiet, because life has hurt him, and a horse with wings. They journey together through the wilderness and overcome the storm, which like every storm had to come sooner or later. The work was written and illustrated by Charlie Mackesy and marks the fulfilment of his dream. It is a work that has the capacity to obliterate even the most stubborn cloud of worry, leaving the reader in tears of joy.
Thoughts are thieves. But not these thoughts. These thoughts are at one with nature. Instead of sitting in a closed room staring at a screen and intensely forcing inspiration, Christian Sauer – Author and Coach for creativity – animates his readers to follow the title of his latest book and simply: to go outside and not only get good ideas in the process but also to find themselves. „Draussen gehen“ is possibly the first book of its kind that you have read, one more reason to go out and buy it.
This story takes place in an anonymous country torn apart by civil war and is about two nameless construction workers about which the reader will never discover a great deal. Their mission: to level a road within twelve days, on which a parade is to take place, and in so doing connect the poor south with the rich north. While one of the protagonists is meticulously committed to the job in hand to ensure that he can return home as quickly as possible, the other is in search of adventure and easy sex. In „The Parade“ Dave Eggers once again shows that he is one of the most influential authors of our time.
Did you know that it was once was common – or at least recommended – to have sixty bottles of French red wine in your luggage on a journey to Egypt? And that tourists in India should not travel without their own washbasin? Or that it was discouraged to drink cow’s milk in Switzerland without mixing Cognac into it? These and numerous other strange, highly amusing travel insights from the historic Baedeker travel guides have now been compiled in one work: „Baederker’s Handbuch für Schnellreisende“.
In his bestseller „Eating animals“ the American author, Jonathan Safran Foer, caused a sensation on a worldwide scale and motivated countless people to become vegetarian. The reprehensibility of mass livestock farming is now also the central theme of his latest work, which is dedicated to climate change. Foer reminds us of the power and necessity of joint action and instances a number of clear, successful examples which should be our motivation and are easily implemented
6. Ein Rundgang durch die Wunderkammer der deutschen Sprache
Tones of desire, begetting mother, assassinating buffer – there is actually nothing disreputable about this strange Germanization by the poet Philipp von Zesen, what is really meant is simply: Music, Nature and Pistols. This and other bizarre rarities can be found in „Ein Rundgang durch die Wunderkammer der deutschen Sprache“ and you will become aware that the German language is more diverse than almost any other. This book truly revels in its beauty, strangeness and wonderful manifestations. From anagrams and palindromes to visual baroque poems through to the present. An entertaining read for word wizards with a love for the German language
The “Bündner Herrschaft” is the Burgundy of Switzerland
Golden larches, blue mountain lakes, white peaks and the canton’s typical delicacies and exquisite wines: There are 42 different type of grape in the Canton of the Grisons along the Rhine, from Glänsch to Malans. Blauburgunder and Pinot Noir are particularly popular. In recent years, the Pinot Noir world championship title went no less than six times to the Canton of the Grisons. Enough reason to take a closer look…
The Donatsch Winery
In Malans, the most southerly village in the Canton of the Grisons with the oldest vineyards, the Donatsch have been pressing exquisite wines, which have long been featuring on the wine lists in the best restaurants, for five generations. Thomas Donatsch planted Chardonnay and Pinot Blanc vines as early as the seventies, getting him into trouble with the authorities. Today his son, Martin Donatsch, twice Pinot Noir world champion, takes care of the superb wines, which can be relished in the in-house wine tavern, Zum Ochsen. Accompanied by Alpine Cheese, Salsiz (air-cured raw sausage) and local barley soup with 19 Gault Millau points.
On the edge of the wine-growing village of Fläsch in the Canton of the Grisons, Martha and Daniel Gantenbein make wine that sells on a worldwide scale. One bottle costs over 100 francs. And because they produce in small amounts, it is generally sold out. Quality is more important than quantity and to attain the best quality they make no compromises. For example, the Pinot Noir is no longer filtered or pumped but flows based on the force of gravity. The Pinot Noir claims the largest area in the vineyard, five hectares, Chardonnay is grown on one hectare and Riesling on 0.5 acres. In the modern reception room à table there is only cooking on request, but then to the specific wishes of the customer and to a high standard.
In the former monastery dome, directly beside the village church, Giani Boner is in the third generation of producers of red and white wines and in particular the speciality Completer. The vines of this indigenous grape variety are over one hundred years old. Golden yellow in the glass and with an opulent bouquet, Completer reveals a veritable firework of flavours. Maturity is between 5 and 25 years.
Fine Dining is a common term that can be found on every website, in Jenins, however, you can experience Fine Wineing. Here in the Alten Torkel, where top chefs are regular patrons, the wine determines the meal and not vice versa. The guest initially selects the flavour of the wine from the menu, then what the head chef, David Esser, recommends with it. This could be a light Rhine Riesling with beef Carpaccio, truffle crème and rocket. Followed by a velvety Completer with mushroom ravioli, a Pinot Noir Unique with Acquerello saffron risotto and scallops, fennel and parmesan and finally a Sauvignon Noble with peaches and white chocolate. There may be other ways to relish life, but this one is hard to beat.
In Restaurant Schlüssel in Mels you have the pleasure of experiencing hearty and at the same time light star cuisine. The king of veal cheeks, Seppi Kalberer, cooked for decades in the historical Patrizierhaus, now his youngest son, Roger Kalberer, has taken his place. The guests dine in the Nidberg room with pine-green wooden panelled walls, tastefully decorated in Biedermeier style. Specialities a la carte or 3 to 7 course menus are served, distinguished with 17 Gault Millau points and a Michelin star.
Restaurant Adler is in the wine-growing village of Fläsch, has 15 Gault Millau points and was voted by the Guide Michelin as one of the most beautiful locations. In autumn there are local game specialities on the menu. Fresh from the hunt. Top chef, Siggi Tschurtschenthaler’s motto: Take 40 percent pleasure, add 30 percent dreams, spice it up with 10 percent exuberance and taste it with 30 percent gratitude. All that makes a wonderful dish – prepared with 110 percent zest for life and passion.
New experiences in restaurant design:
IYO Aalto, unexpected story of contemporary Japan
In Milan, Maurizio Lai designs a restaurant where Japan finds an original, non-conventional interpretation, between noble materials, light cuts and bespoke design.
Milan (Italy) | There is a contemporary idea of Japan in the project that the Italian architect Maurizio Lai has developed for IYO Aalto, the second restaurant of the group after IYO Taste Experience, the only Japanese restaurant in Italy awarded a Michelin star. Subtle references to tradition give way to a contemporary and pure design language, conceiving a place where essential materials and light merge into a different narrative.
Maurizio Lai defines a restaurant where the founding values of IYO are transferred to the space. IYO Aalto offers a dual experience, in environments designed right down to the smallest detail: Tokyo’s Edomae zushi culture, in a traditional “Sushi Banco”, and a boundless and contemporary cuisine in the elegant “Gourmet Restaurant”.
The space of 320 square meters embraces the open kitchen, the wine cellar, the exclusive “Sushi Banco” and the “Gourmet Restaurant”. Natural materials – walnut, porphyry, brass, leather – are combined with sophisticated and more technological elements.
Maurizio Lai evokes the suggestions of a contemporary Japanese culture through a decisive sensibility, far from prevailing stereotypes and clichés. IYO Aalto appears like a preciously balanced stratification of details, characterized by the discreet and constant presence of design elements that enrich and define the personality of each environment and surface. Furniture is made exclusively on design in collaboration with Poliform Contract: a vibrant example of the peculiar relationship between architects and Italian brands; a collaboration able to give shape to ideas, turning them into unique products thanks to bespoke process and artisanal know-how.
The interior project
The entrance introduces a timeless and dreamlike dimension: a compass with float glass plates and smoked mirrors expands the space, in a game of transparency and infinite reflections. On the inside, guests are welcomed by a light installation and a desk, made of flamed gray-green porphyry and brass, which introduces a dialogue between form and material that will continue throughout the restaurant.
IYO Aalto is defined by the discreet and constant presence of signs that distinguish all the surfaces: small brass inlays drowned in the wooden slats of the floors; swallow tails – also in brass – that recall the culture of high carpentry, up to the furniture screws.
Canaletto walnut and porphyry represent the dominant materials. The walls, never continuous, define and delimit spaces without ever completely isolating them: like the imposing central partition in slabs of split porphyry, flanked by brushed surfaces and void parts. Furniture and fittings, entirely custom-made, are produced in collaboration with Poliform Contract.
The Sushi Banco
An intimate room proposes for 8 guests the Japanese edomae zushi: a set of rituals that has its roots in the Bunsei era (1818-1830), where the nigiri are prepared in front of the guest.
The entrance wall is made with Brise Soleil in Canaletto walnut and allows a glimpse of both the internal environment and the lofty window.
The counter is in Canaletto walnut, with worktop and plates in smooth gray-green porphyry, characterized by thin brass inlays. The leather seats, with a black elm structure and a leather-coloured custom-made cladding (used also for the upholstered furniture in the main dining room), are produced by Poliform Contract. The brand was in charge of the realization of the whole custom-made furnishing, joinery, glassware and stone works.
The Gourmet Restaurant
The extraordinary heritage of Japanese cuisine is filtered by contemporary knowledge to offer an authentic and ambitious experience, in a room designed to accommodate a maximum of 38 seats.
The Canaletto walnut covers all the surfaces of the space and the ceiling is embellished with lacunar sheets of float glass: a touch of lightness to rediscover the classic codes of coffered ceilings, reinterpreted by Maurizio Lai according to a contemporary aesthetic.
Three wooden wall cabinets mark the space; custom-designed, they represent some of the recurring details of the project: brass screws, wood, leather, glass. As if suspended, they are surrounded by a perimeter escape that becomes a design element, an interpretation of Japanese poetry that considers emptiness as balance. Materials and surfaces are combined without ever touching, in a game of poetic absences.
The wall-mounted wine cellar is one of the largest ever made: 3.5 m x 10 m, with six different temperature zones, to accommodate up to 1600 bottles. Consisting of a polished stainless core, it has reflective smoked glass doors (also used for ceiling cladding) and interior lighting.
In the restrooms, luminous vertical and horizontal lines play with dark vertical surfaces, mirrored at full height, alternating with sheets of back-lacquered glass and round mirrors with LED backlights. Polished floors and ceilings made with recycled glass grit slabs get reflected, thus multiplying the space, causing an unexpected effect and adding a level of experience to the project.
Uncomplicated, resilient and functional, those are the attributes that are characteristic of Mido watches. Things that are important in particularly extreme situations. No surprise that countless cliff divers are among the fans of the swiss watch brand.
In addition to water sports, Mido is extremely passionate about architecture. One more reason to celebrate the event in the Spanish harbor city. After all the cliff divers basically take the plunge directly in front of the main door of an architectural masterpiece, the «Guggenheim Museum». Every watch from the Mido company is developed under the credo «inspired by architecture». Classic timepieces that do not follow any shortlived trends, but are classic beauties and consistently reliable companions.
Finally Franz Linder answers my question on the classic Mido customer «I believe the design of our watches is decisive. Timeless, powerful and reliable. It is someone who appreciates quality, who is discerning and does not have to rely on prestige. It’s about personality, less about showing off.»
As early as in the 1930s «Mido» was known for its powerful sealing system. The initiator behind the patent of the so-called cork crown sealing system was the watchmaker Georges Schaeren, who in November 1918 laid the foundation stone for the Swiss watch brand «Mido» that is still highly successful today.
Three quarters of a century Ocean Star
A little over a hundred years later, there are other patents that make the Mido watches so popular in particular for lovers of maritime sports. For example, the Calibre 80 from the new Ocean Star collection houses a new generation automatic movement that enables autonomy of up to 80 hours and, of course, consistently guarantees absolute water resistance. Therefore, it is only fitting that we celebrated the launch of exactly this new «Ocean Star» as part of the «2019 Red Bull Cliff Diving World Series» in Bilbao.
The Ocean Star is now 75 years old, and still modern. The President of the watch brand, Franz Linder, addressed the subject in a personal interview: «It is our mission to create innovative products of the highest quality and in a design that conveys timelessness. Each of our collections has its own special character. For example, the Ocean Star was created specifically for water sports.»
*) From the very outset the name MIDO – from the Spanish ”Yo mido“ (I measure) – was a synonym for technical innovation and timeless design.
800 cv makes it the most powerful production convertible on the market
Maranello, 9 September 2019 – Exactly 50 years on from the debut of the last spider in the Ferrari range to sport a front-mounted V12, the 812 GTS hails a triumphant return for a model type that has played a pivotal role in the marque’s history since its foundation.
The Ferrari V12 spider story features many iconic models and began in 1948 with the 166 MM, an authentic thoroughbred competition GT that won the two most prestigious endurance races in the world in 1949: the Mille Miglia and the 24 Hours of Le Mans.
The last in that long lineage was the 1969 365 GTS4, also known as the Daytona Spider because of Ferrari’s legendary victory in the 1967 24 Hours of Daytona when two works 330 P4s and the NART-entered 412 P took the chequered flag side-by-side to occupy the top three places.
The front-mounted V12 architecture has not been used in a Ferrari series-production spider since the 365 GTS4. That said, four special series limited editions have been launched: the 550 Barchetta Pininfarina in 2000, the Superamerica in 2005, the SA Aperta in 2010 and, most recently, the F60 America of which just 10 were built to celebrate Ferrari’s 60th year on the American market in 2014.
Like its historic predecessors, the 812 GTS sets a new benchmark in terms of performance and exclusivity. Sporting Ferrari’s majestic 800 cv V12, it is not merely the most powerful production spider on the market, but also the most versatile, thanks to its retractable hard top, a unique feature in this segment which also guarantees a larger boot capacity.
The retractable hard top (RHT), which opens in just 14 seconds at speeds of up to 45 km/h, does not impinge upon the interior dimensions, thus maintaining the donor car’s roomy cockpit. The electric rear screen, which acts as a wind-stop, makes the car truly useable with the top down while, with the top up, it can be left open to allow occupants to continue to luxuriate in the naturally-aspirated V12’s unique soundtrack.
The 812 GTS is the spider version of the 812 Superfast, from which it takes both its specifications and performance, most notably the power unit which, thanks to its ability to unleash a massive 800 cv at 8500 rpm, is the most powerful engine in its class. 718 Nm of torque guarantees impressive acceleration virtually on a par with that of the 812 Superfast while the heady 8900 rpm rev limit means that sporty driving is undiminished.
As on the 812 Superfast, these performance levels were achieved in part by optimising the engine design and in part by innovations, such as the use of a 350 bar direct injection system, and the control system for the variable geometry inlet tracts, developed on naturally-aspirated F1 engines. These systems allowed the increase in displacement from 6.2 to 6.5 litres to be exploited to maximise power output whilst retaining excellent pick-up even at low revs.
The high pressure injection system also improves nebulisation of the injected fuel thus dramatically reducing the amount of particulates emitted when the catalytic converter is warming up, and the fitment of a Gasoline Particulate Filter (GPF) together with the Stop&Start On the Move strategy, which cuts and restart the engine while the car is on the move, ensures the engine complies with all emissions regulations.
Particular attention was also paid to calibrating the Manettino settings to enhance the engine’s potential and the sensation of extreme power delivered by the car. That said, the driver will always be able to easily and confidently dose the massive torque available with the accelerator pedal, thanks to smooth, progressive power delivery at all engine speeds.
The shape of the torque curve reveals that torque distribution was not sacrificed to boost power. A significant 80% of maximum torque is available at just 3500 rpm, improving both flexibility and pick-up at lower revs.
The shape of the power curve, which rises constantly all the way to the maximum revs of 8500 rpm, and the rapidity with which engine speed increases, thanks to low inertia, give occupants the feeling of boundless power and acceleration. The latter sensation comes courtesy of the overall increase in maximum power output and the optimisation of the aforementioned power curve between 6500 and 8900 rpm, which maximises the average horse power exploitable for press-on track driving when engine revs are kept consistently high.
The dual-clutch transmission’s gear-shift strategies enhance the car’s sportiness. When the Manettino is in sportier settings, both up- and down-shift times have been significantly cut and the transition time has been optimised to enhance the driver experience. Combined with the shortened gear ratios, these modifications, mean that occupants will instantly feel that the car’s response to the throttle.
The geometry of the exhaust system was evolved to increase and balance the sound from the engine and tailpipes, with the aim of accentuating the car’s extremely sporty character with the roof down.
Exhaust-wise, prevalence was given to combustion order harmonics by modifying the geometry of the centre extension pipes. All the pipes in the 6-in-1 exhaust manifold to the monolithic catalytic converter are of equal-length and this optimises the sound by giving predominance to the first-order combustion harmonics. The result is a full-bodied V12 sound in the cabin in all kinds of driving but which is particularly appreciable when the roof is open.
Designed by the Ferrari Styling Centre and based on the 812 Superfast, the 812 GTS echoes the formal language and proportions of Ferrari’s front-engined V12 without altering either its exterior dimensions or interior space and comfort, so it represents the perfect marriage of sportiness and elegance. From the side view the 812 GTS has a fastback sleekness: a two-box design with a high tail reminiscent of the glorious 365 GTB4 (Daytona) of 1968.
The draped design of the flanks visually shortens the tail and is characterised by sharply slanted crease lines and impressively muscular wheelarches that imbue it with the power and aggression warranted by its imposing V12.
On the spider version of the 812 Superfast, the entire rear of the car – roof, tonneau cover and luggage compartment – has been redesigned. The idea was to lend the car a new blend of sleekness and balance, thanks to two buttresses beneath which the roof movement mechanism is stowed. The buttresses were designed to visually embody a sense of forward thrust and lend the side windows a signature look that would set the spider apart from the berlinetta. When the top is dropped, the roof panels disappear beneath the aforementioned tonneau cover.
From a stylistic perspective, the rear wheelarch has lost the 812 Superfast’s characteristic aerodynamic by-pass. The absence of this duct has been compensated for, however, by reconfiguring the rear diffuser which now has an additional flap.
The new 812 GTS also features a new, highly sculptural and model-specific multi-spoke forged wheel. A choice of three versions will be offered: diamond-finish, liquid silver and Grigio Scuro.
Aerodynamically, the 812 GTS posed two main challenges for the Ferrari designers: how to guarantee the same performance as the coupé version with the top up and, at the same time, ensure maximum passenger comfort with the roof down.
In terms of pure aerodynamic performance, the retractable hard top and its stowage compartment required that the rear of the car be modified. Thanks to meticulous resculpting of the tonneau cover surfaces and, most importantly, the integration of a triplane wing into rear diffuser to create efficient suction (and thus downforce) from the underbody, the aerodynamicists were able to compensate for the downforce lost by the removal of the 812 Superfast’s rear wheelarch by-pass duct, the air intake of which was behind the quarterlight.
Drag, on the other hand, was cut by using the air vents on top of the rear flank to efficiently channel excess pressure build-up out of the wheel well.
Meticulously detailed work went into guaranteeing an excellent standard of comfort on-board with the top down. There was huge focus on minimising both turbulence inside the cabin and aerodynamic noise to ensure occupants could converse undisturbed even at high speeds.
As with the LaFerrari Aperta, two small L-shaped flaps on the upper corners of the windscreen generate a coherent concentrated vortex that creates outwash in the velocity field immediately above the rear screen, thereby avoiding excess pressure behind the occupants’ heads.
In this area, the aerodynamicists created an aerodynamic passage in the front trim of the two buttresses that fair in the seats, and topped it with an aerofoil which channels the airflow striking the trim into the tonneau zone at the rear, thus facilitating both venting of pressure in the cabin and recompression of the separation bubble downstream from the wind stop which in turn benefits aerodynamic efficiency and stabilises the flow.
The aim in developing the 812 GTS was to retain the exhilarating feeling of speed and power delivered by the berlinetta version in terms of accelerating, response times and agility.
The 812 GTS is equipped with all of the 812 Superfast’s new generation components and control systems and, like it, delivers impressive handling. It sports Electric Power Steering (EPS) which, in line with Ferrari tradition, is used to fully exploit the potential of the car in terms of performance by integrating it with all of the electronic vehicle dynamics controls, including Version 5.0 of Ferrari’s patented SSC. Another of the integrated systems is the Virtual Short Wheelbase 2.0 system (PCV), which has been further evolved based on experience gained since its debut on the F12tdf.
The following high performance driver assistance features are also featured:
Ferrari Peak Performance (FPP): when cornering, the steering wheel torque will provide the driver with an indication that the car is getting closer to its limit of grip, helping the control of that dynamic state:
Ferrari Power Oversteer (FPO) – in the case of oversteer, most frequently induced while powering out of corners, the steering wheel torque will give the driver feedback to give steering wheel inputs that are coherent with realigning the car correctly
Optimised calibration of the car’s magnetorheological dampers mean its elastic set-up is the same as the berlinetta version’s despite the 75kg increase in weight caused by strengthening work on the chassis.
Consequently, its overall performance levels are very close to those of the berlinetta, with 0-100 km/h acceleration in under 3 seconds and 0-200 km/h in just 8,3 seconds. The Ferrari 812 GTS’s maximum speed is the same as the berlinetta’s: 340 km/h.
7 YEARS MAINTENANCE
Ferrari’s unparalleled quality standards and increasing focus on client service underpin the extended seven-year maintenance programme offered with the 812 GTS. Available across the entire Ferrari range, the programme covers all regular maintenance for the first seven years of the car’s life. This scheduled maintenance is an exclusive service that allows clients the certainty that their car is being kept at peak performance and safety over the years. This very special service is also available to owners buying pre-owned Ferraris.
Regular maintenance (at intervals of either 20,000 km or once a year with no mileage restrictions), original spares and meticulous checks by staff trained directly at the Ferrari Training Centre in Maranello using the most modern diagnostic tools are just some of the advantages of the Genuine Maintenance Programme. The service is available on all markets worldwide and from all Dealerships on the Official Dealership Network.
The Genuine Maintenance programme further extends the range of after-sales services offered by Ferrari to satisfy clients wishing to preserve the performance and excellence that are the signatures of all cars built at the factory in Maranello which has always been synonymous with leading-edge technology and sportiness.
Two germans are causing a worldwide sensation with their mobile bank “N26”. In only four years, they have managed to go from startup to international top player. The trick: You take control of all finances in real time using one single app.
Once upon a time there were two frustrated friends. Valentin and Maximilian were thoroughly fed up with the current bank offers and services.
Their conclusion – No digital innovative vision, a lack of transparency and exaggerated fees. But instead of complaining, they rolled up their sleeves and started up their own bank. A bank that fulfilled their expectations. A bank controlled via Smartphone that is a loyal companion to its customers 24 hours, seven days a week. And a bank that managed to reach the top of its sector within only four years following the official product launch. “N26” is the international market leader in Mobile Banking – active worldwide in 24 countries, 2.4 million customers and 700 employees, the facts really speak for themselves.
An easy bank
The secret of success: Reflecting on the essentials. The customer can find all finances in only one app, making banking flexible and transparent. Real time notifications, subaccounts with saving targets, worldwide card payment, loans and insurance contracts, everything controlled from one source. “N26” has a very clear focus on customer needs today. Founder and CEO Valentin Stalf on that subject: “Worldwide far too many people are still using poor bank products and paying overpriced fees. Thanks to our investors, we now have the chance more than ever to shake up one of the largest industries.”
A growing bank
«N26» was developed solely for the Smartphone and as such makes banking simpler, faster and more up-to-date. We have no branches; the customers get money from roughly 9000 partner companies such as major retail chains. A slim IT system backs up the app, which hardly generates costs. This means that individual offers such as current accounts or Master and credit cards can be used for a minimum fee. On a global scale, the company also collaborates with innovative Fintechs to extend their services further. They have just been able to collect 300 million US dollars in another investment round. “N26” will use this funding for their startup on the other side of the pond in the USA. By the way, the name “N26” goes back to the first office premises. They were in Berlin on the street “Unter den Linden 26”. Again illustrating the philosophy of the two founders Valentin Stalf and Maximilian Tayenthal: Why make something complicated, when it can be created simply and at a low cost.
„I am an actor and a musician. Simultaneously, each in its own way, I am equally passionate about both.“
Why does someone, who has just had a dream career start in acting meet up to cry? The brighter and the darker sides of life have a close connection for Daniel Donskoy. The artist’s last 10 years have been shaped by inner conflict, nomadism, successes and defeats – both in his professional and his personal love life.
The musicality in London, Daniel‘s first residence since 2011, the numerous concerts, the pulsating, restless life in the city and its melancholy and ambiguity have predominantly influenced his character. The British Singers & Songwriters have proved truly inspirational. The influence of Blues, Indie and Brit Pop on his music is clearly recognisable.
After an intensive phase of commercial work in film & TV it became even more important to Daniel to retain complete freedom and self-determination in his music. He had found the right partner in the music producer Mic Schroeder, who had already produced albums and singles for Joris, Rea Garvey, Lotte, Silly, and many more in the eleventwentyStudios in Berlin and who – like Daniel – places a great deal of importance on analogue sound and real instruments. Following his single “Cry by the River”, Daniel is now working intensively on his debut album.
Born in Russia, grew up in Berlin and Tel Aviv, drama and music studies in London, his family scattered throughout the whole world – for Daniel Donskoy it is difficult to define the term home. He is a cosmopolitan, a global citizen, who is at home everywhere where he unpacks his suitcase.
In his early childhood his Russian grandmother taught him how to play the piano. However, the strict Russian discipline restricted Daniel too much. During adolescence he broke out of the rigidity of his parental home, partied the night away in Tel Aviv and began to write his own songs. His talent did not remain undiscovered, but he turned down a place at a music school in Israel, moved back to Berlin alone, applied to study classical singing at the UDK (University of Arts) Berlin – and was rejected. Daniel Donskoy finally received a scholarship to the Arts Education School of London.
After completing his degree in 2014, Daniel Donskoy went directly to the theatre, and then played several roles in British TV. In Germany he became famous overnight with his leading role in the series “Sankt Maik”, followed by roles in Tatort and a main part in Dror Zahavi’s motion picture “Crescendo”.
„Of course the audience prefers to encounter a well packaged lie. The truth hurts, that’s why we don’t want to see it.“
He presents those sides of real life that we prefer to avoid. Hoffmann & Campe are now publishing all this major scripts in one volume. Why Michael Haneke is one of the last superb filmmakers.
An elderly woman has a stroke. From now on she is imprisoned in her own body, bound to a wheelchair and her bed, dependent on care; she has to endure the shame of wetting herself, having her hands washed by strangers. Everything trickles away, freedom, dignity, language, everything that made life worth living, but he is still there, Georges, her husband. And with him love. He has promised her that he would not let her be taken away. And now she is pleading with him to put an end to it all. That is LIEBE, Michael Haneke’s eleventh film, a stroke of genius. In 2012 he received an Oscar for the film, although the Austrian writer-director works on a level far removed from any Hollywood formula. His films are free of clichés and void of sentimentality. „In the mainstream you have rules“, claims Haneke, „Nothing can happen to animals or children. But in reality something does happen to them.“ And it is all about this reality. Haneke‘s films are hard and cruel and at the same time hold a warm beauty. They show us life, how it is, not more beautiful, not better. During the process, the visionary avoids trying to convey any messages. In a Haneke film there are no answers, but issues are raised.
Haneke grew up in Wiener Neustadt in a family of actors. Allegedly he wanted to give up school at an early age to be an actor himself, but then studied philosophy, psychology and theatre studies in Vienna. At the age of 47 he presented his first cinema film, DER SIEBENTE KONTINENT, disturbing, it arms us for the ruthless truth that will shower down on us in his coming works. To name but three: In BENNYS VIDEO a teenager kills a girl for pure sensationalism in 1992 and films the crime. In an attempt to get the boy out of the situation he has got himself into, his parents become liable for prosecution themselves. A level of loyalty that the protagonist himself will not reciprocate. In 2001 in DIE KLAVIERSPIELERIN Haneke adapted the novel of the same name from the Austrian winner of the Nobel Prize for Literature, Elfriede Jelinek. Without any frills he stages the story of the internally blunted piano teacher, who is drilled by her control-addicted mother to become a pianist and who fails in her endeavours to have a sadomasochistic relationship with one of her students. DAS WEISSE BAND – EINE DEUTSCHE KINDERGESCHICHTE deals with mysterious occurrences and traumatizing attacks on children made compliant from an overbearing upbringing in a protestant village. The film, demanding, difficult, but ingenious, was awarded with the Golden Palm in Cannes in 2009.
Hoffmann & Campe have now packed all major scripts from the 76-year-old between two book covers in DIE DREHBÜCHER. Plus: The completed script to FLASHMOB, not yet released. A special treat for cineastes and deep thinkers alike.