.png)
I S S U E 10 / September, 2023
Jo at 70,000 ft. Vecteezy AI generated images
F E A T U R E S
1 Airborne Cafe - Thomas Chatfield on a range of exciting subjects
7 Design Q / JetZign Feature / The Incredible Lightness
11 Designer Series - The North America Roster
18 Sensory Design - Designing For The Senses / Cristina Scarlata
26 Automotive Design - The Holy Grail of Influence for Jet Cabins
31 Yachtspace - Nuvolari Lenard’s enduring legacy
39 From Fantasy To Fabrication - Fain Models
46 Aircraft Chairs - Five Top Designers on Where They're Headed
Issue 10 September, 2023
JetCabin Freshbook 2023 . all rights reserved
f r e s h b o o k . a e r o
Publisher
Editor
Editorial
Advertising
Directory Listings
RWR Designs GP LLC - Texas U.S.A.
Rick W. Roseman
directorylistings@freshbook.aero
Freshbook Magazine is a division of JetCabin Freshbook (freshbook.aero), and is an all digital publication, distributed globally to subscribers only. The subscription rate for any / all legitimate individuals or companies directly involved in the interiors sector of business or commercial aviation, is: $0 (no cost).
Advertising rates are available via our media pack.
Visit our Advertising page here.
JetCabin Freshbook
3206 La Paz Lane
Santa Fe, NM 87507 (u.s.a.)
If you change jobs or otherwise will no longer have a valid subscription email, please notify:
circulation@freshbook.aero
D E P A R T M E N T S
Boeing 787-9 at sunset / photo courtesy of Boeing
Words from the Editor
Back in the day, collaborations were something two or more foundations or research groups engaged in. The notion, and in fact the reality, is that when two or more entities join forces in an open and cooperative way, the objectives are generally realized more quickly - that a collective win is always a bigger win. But until roughly the mid-nineties, private enterprise, for the most part, had no such notions. They had no aspirations to collaborate with anyone (or certainly another company) outside their own. What we have is ours . . . and what you have is yours - unless we get a chance to steal it. There were exceptions of course but for the most part, private companies were far too reticent and closely held to engage in external collaborations - let alone seek them out.
​
But then was then and now is now. Collaborations among private companies in todays world, are not only commonplace, but aggressively sought out. Turns out, companies can actually grow and perform in ways they never imagined via collaborations with other like-minded companies. And indeed there are countless examples today, all over the world.
And that brings me to one Thomas Chatfield and his company, Camber Aviation Management. Thomas and I have known each other for a few years now and in addition to our professional histories, Thomas and I also have a shared affinity for good stories and thought provoking subjects. So it wasn't long before we stumbled onto the notion of turning our individual experiences into shared experiences - and then sharing them yet again with our respective audiences (a.k.a. you!).
​
And all that has led us here, to our own best example of collaboration; a cooperation between two companies who both share a love of aviation interiors. We're both very proud to unveil Airborne Cafe, an ongoing series of stories, extollings and viewpoints that affect or in some way compliment the industry we all share and love.. We hope you like the product of this collaboration and we invite your comments as we go along.
​
In the meantime, enjoy Thomas's first entry, entitled: The Billionaire's Paradox, below.
​
Richard Roseman - Co-founder / Editor
First Visit? JCF Magazine is about jet interiors, and only jet interiors; the designers that design them, the centers that build them and above all, the cabin supplier groups - worldwide, that ultimately make it all possible.
If your company belongs to one of these groups, let yourself subscribe to something worthwhile for a change. Stay fresh, participate and grow .
A N N O U N C I N G
JCF Magazine is proud to roll out Airborne Cafe, an ongoing series of articles by none other than Thomas Chatfield - CEO / Camber Aviation Management, based in Vancouver. We have long sought to collaborate with Thomas on something fun - something of a departure from the norm. Well this is it, and you're in for a treat; subjects far and wide but all related to the industry we love.
Why Cafe? Well because in addition to Thomas being a ubiquitous figure in business aviation, he also has a penchant for digging up great stories related to aviation and writing about them. Now in our imaginations, the telling of those stories might best be unfolded on some stone terrace above Lake Como - drinking lattes in the morning sun. But since that's probably not practical, we've decided to publish them here, as an ongoing feature in each issue.
Just scroll down to catch the debut entry of Airborne Cafe. Enjoy!
VISION
We’re Changing the Way you think about Aviation Magazines
No flip viewers...no thumbing pages, no zooming to read text or adjusting scale to see images. Just smooth scrollable content, smartly written feature articles, full-width ads from the top companies in the world. Plus exciting departments that bring the FRESHEST in new rollouts and present the latest trends. Plus you'll always find glimpses of the near-term future of cabin design and products. And best of all, it's all interactive with video, live links and instant access to the people and extended content you're interested in.
.png)
Thomas Chatfield - Executive Contibutor &
CEO / Camber Aviation Management
In the glittering world of billionaires, every achievement seems within grasp. Skyscraper homes, fleets of high-end cars, priceless art collections – these tangible signs of success are easy to spot. Yet, there's a twist. The most successful, those with virtually limitless resources, often find themselves chasing after the one thing that always slips away. In a famous discussion with Bill Gates, billionaire investor Warren Buffett remarked on the value of time, saying “It's the only thing you can't buy. I mean, I can buy anything I want basically but I can't buy time.”
​
So, as their wealth accumulates, it feels as though time speeds up, each passing moment a reminder of its irreplaceable nature. It's a stark realization that no matter how much money you have, you can't add hours to your day. It’s not just about looking at the vast fortunes of billionaires, but includes the ageless chase to capture, cherish, and make the most of time. Because when you have everything, the question remains: can you truly buy more moments?
This is the inaugural installment of Airborne Cafe. We are proud to embark on this ongoing series of thoughts, extollings and stories from one of the premier figures in our industry. In each issue Thomas Chatfield will offer us thought provoking articles like the one above - each of them relevant and insightful from the perspective of private aviation. Simply hit the link at right to finish the article and while you're there, learn more about Camber Aviation Management and the importance of their work.
BBJ Max Concept by: Cheryl Pelly Design
"The top DESIGN studios around the world are absolutely the ones that inform the industry and set the trends."
Jetzign is where we highlight the very latest from the top designers and studios. Whether it be the iconic independents or the great design departments within the world's top completion centers, this is where you will find their latest works - and always with an emphasis on the near-term future of cabin design.
F E A T U R E A R T I C L E
SkyYacht ONE / courtesy: Sotto Studios
D E S I G N Q
The Incredible Lightness
of applied aesthetic
Richard Robledo 1973 - 2023
There are more than a few object lessons that can be applied to design . . . and all of them have come from great designers. One such designer is Howard Guy. As you will discover, he can discuss the finer points of design and their relevance to the human experience, all day long - but the academics of design, however insightful and interesting, is something that for him, came well after what took him there in the first place. For Mr. Guy, like so many others, it was an intrinsic gift, a talent unto which he was born. It was there long before he even knew what to do with it - but man, when he figured it out!
Article by. R I C K. R O S E M A N
Be it fashion or architecture, interiors or what have you, every great designer on the planet can recall their moment…that singular moment in time, or event, when they first knew. There is a wonderful commonality among all creatives wherein a spark occurs, usually at a very young age, and it marks the beginning of a life and a career that only belongs to a relatively small segment of the population. And for those people it’s not merely a talent but a visceral driving force that will extend to every part of their being, bringing a sort of joy and fulfillment that only other artists and designers will ever completely understand. So, from now on, I have decided that when it comes to designers, all interviews and all articles will begin with that one very personal question. Where and when did you first know? When did the spark occur? When was it you realized you had the eye? And there’s not a designer alive that doesn’t have that answer or for whom the recalling of it won’t bring a smile!
Today, I had the pleasure of sitting down with one of the greats in aviation and automotive design. He's a friend and a colleague, he has a keen sense of humor, is uniquely insightful and most importantly, is a man for whom storied experiences collect like bug spatter on a Cobra windscreen at 130 mph.
I’m talking of course about the man behind the ‘Q’, Mr. Howard Guy, founder and CEO of Design Q in Worcestershire, England. And in accordance with my newly established protocol, my opening question to him was . . .
​
​
​
“So, Howard, where and when did you first know?
His answer came in the form of three separate vignettes, each as charming as the era and place they occurred in.
“OK so the very first moment I can remember occurred at age 4 and it involved a brand spanking new tricycle. It was purchased for me on a beautiful summer's day at the seaside by my grandfather who was probably about 75 at the time. There was something about being taken to a store that was full of stuff, that was full of bikes and accessories of all manner. I'd never really experienced that before. And it was more than just what I could visually feast my eyes on. It was the smell of the new rubber tires, the lubricating oils…you know, everything that you got in a traditional small English village bicycle shop back in 1963. All of it just blew my mind. And on top of that, the tricycle had a trunk, one you could open and put things in. It immediately stirred my imagination. I adored the way it looked and functioned - which by the way, was painted a beautiful metallic blue. I've been a blue boy ever since – hence the Shelby blue which I’ll come to later.
It was the first real product I was responsible for and I really appreciated it in a way I never had with anything else. I studied it from every angle, slid my hands along its sleek frame. I even managed to get it by my bed appealing to my mother, asserting that my complete appreciation of the new gift fully depended on it! I laid looking at it and I was blisfully happy, like nothing before. So that moment was the first of a few when I started to keenly appreciate things – their shape, the form, the colours – the design of a thing. It was remarkable and the moment still lives in me.
The second such moment, was at about the same age and happened as I rode the same tricycle.
It was that day I saw my first Jaguar E type! It passed on the lane out front. It would have been about 1965, and I saw the car only briefly because it raced by like a rocket. I was like ‘wow!’ It’s form was so different than anything I’d ever seen - but even as a child my eye could grasp its relevance and sophistication - what it meant to truly see something, to understand and perceive it - whereas to a lot of people, they just don't have that emotional response. I mean we're all different, right? Some people appreciate landscapes. Others appreciate paintings, still others music and on it goes. We all appreciate things in different ways but for me it has always been a blending of mechanical things and the shapely forms that surround the machinery – things that carry emotion and speed and all that sort of stuff. Even recalling my first experiences on the tricycle, I can remember coming down the hills fast as I could, leaning in trying not to tip over you know!? it's a very dynamic, impressionable thing at a young age. So, in a very real way, these early remembrances formed what I would later become.
Now, the third big influence, we’ll save for a bit later because well . . . it’s a bit out of the ordinary and a frankly something remarkably entertaining. So, whatever you do, don’t stop reading and don’t jump ahead. A treat awaits you at the end!
​
​
​
- Continue reading below the video
.png)
My next question Howard, comes a bit more to the current and while I think I know the answer, I have to ask. In a prior conversation, you mentioned that you sketched things out, even from an early age. Is that something you still do in your current day practice.
“Without question. if I'm doing a little modification on the Cobra, as I was recently, I couldn't help but sketch it out and to flush out my thoughts. I'm doodling in a way you know. I look at sketching as a language. It’s a way of conveying to myself and others, sans words. It transcends words. Projects are an all engrossing sort of thing but when you sketch something out, you’re literally thinking with a pencil, hence the language - and that's what a lot of people don't get. What I’m thinking is directly linked to my left hand so that hand will almost always say a lot more than what my brain's actually thinking, or what I could ever effectively convey in words. I'm not saying anything. It's going straight to the paper but I'm still communicating.
“We’ve talked before about your seemingly inexhaustible archive of stories – the things you’ve experienced both within Design Q and prior to that. Can you tell us one?
I have that reputation do I? Well, I hardly know where to start. There’s so many? But maybe I can start with Bombardier, with whom we have now had a long working relationship with. So, back in 2013, Bombardier approached us wanting help with their new Global 7000. But as the conversation went along, I learned they were in need of more than just design – and then came the question: Can you build us one also? Meaning a full size mockup in every detail and all systems functioning as it would on the actual aircraft. I like the audacity of something that's too big for the building that you actually are in, right? So, when they said, can you build the whole aircraft I said, well of course! (he chuckles).
But in fairness to the story, it wasn’t our first go at that sort of challenge. A few years earlier, we had won a huge project with Cathay Pacific and it too involved building a full-size mockup in complete functioning detail. They were going to complete 60 or 70 aircraft of all sorts. I mean it was a mega project…it was bonkers! But yeah, we made all of the full scale mockups for all the various categories. On the first day in Hong Kong at lunch, there were 20 people around a round table eating sloppy Chinese food which is impossible if you're on show and a dozen people are asking you questions. But, somewhere midway through the Peking Duck, a lady named Rachel said, we've been thinking this morning that we have a 747-400. Can we send it to Design Q and you can kit out a mockup in the aircraft? They were literally going to cut a 74 out of their operational fleet and fly it across for us to play with! It was insane but she (and everyone in the room) were more than serious. Never mind the fact that we don’t have a runway in back of our studio, let alone one that could take a 747. The nearest runway to us is Birmingham international, about 25 minutes away. The runway was long enough to land a 74 but it will never leave, right? The next nearest was a freight runway up in East Midlands - about 3/4 of an hour away but the problem there was it would have to be parked outside with no backshops etc to support a mod like that. So as I rattled off the obstacles to her, she thought for a minute and said “well could you build a 747? Oh, that's easy I said. We can do that. Gleeful in their excitement, they said, Ok so give us your quotation in the morning and let's get this going.
Hang on now! You’re not going to tell me you turned around a quotation in 24 hrs!?
Less than, he replies. They were behind the curve and I wanted lock it down, considering it was the biggest contract we’d ever been in front of. The mapped out what all they needed – which was basically everything but the upper lobe. And to make the quotation fuse even shorter, they entertained us for most of the evening. By the time I got back to my hotel room it was like 1:00 am. I got my pad and started figuring, well this is going to be this big - that's going to be that big, we're going to need another facility that can fit it in let's put you know a 30 grand a year for that and so on. So by the time I actually went to bed, the sun was coming up and through the eyes of delirium, I had a number. I sent it back to the studio for Ts and Cs, formatting etc, closed the blackout draperies and collapsed in bed, probably still in my clothes!
​
​
​
.jpg)
Bombardier Global 7500 / Design Q
By the end of that day they signed off on the price and effectively, the deal was done. Kind of makes me wonder looking back, if I could have just raised it 50%! But there you have it and we were really glad to get Cathay Pacific – it was a big fish!
I had also decided I wasn’t gonna do it in fiberglass and cardboard and tram tickets. I'm going to do it in aluminium and I'm going to polish it!
C’mon!??? Seriously.
Yes, it needed to be aluminium - so I got I got a friend of mine who has an auto shop and makes bodies for cars and does all that cool stuff. We worked together for years and he worked with Jaguar and McLaren and a lot of cool projects. So I knew he was capable of most anything so I said ok, I want you to make all the belt frames, stringers etc and our team, we’ll do all the internals. So we're doing the PSUs, the ceilings, the windows, the bins. We did absolutely everything. It was a monumental task, but we pulled it off and at the end of the day, the customer was very happy. This is why when Bombardier asked ‘Can you build us a turnkey 7000 mockup?’ I just said, piece of cake! I honestly had no fear in those days.
Amazing. So on the 74, how long did it take you - end to end?
I reckon at six months we had the full thing kitted out. They were 24 hour days in many cases, but yea, in roughly half a year, we had the full thing done and ready to deliver. Crazy to even think about looking back.
And what about seats? I assume the customer was providing you seat frames?
Yes, but we had our own upholstery shop so all that was done in house where we could closely manage it. We also had a network of suppliers that are supplying Aston Martin, Jaguar all the rest of it so, all you do is you categorize. You basically break down the work scope. My job was to sort of manage, giving that to people who I know are going to deliver. I mean the cool thing with Cathay was it really was a brand-new business class proposal, and they were very pleased at the end of the day. So much so in fact, that they ended up saying, ‘Can you build us two more?’, which we happily did. To this day on the 6th floor in Cathay City, in their headquarters, that original mockup still resides. They use it for staff training and so forth, so you've got a full set of interiors. They also use it for updating their products and trying out new proposals in an accurate mock flight environment.
Can you tell us about your Virgin / Richard Branson project?
​
​
​
​
​
​
​
Design Roster is a comprehensive / managed global listing of the top aviation interior designers in the world.
Beginning Q1 of 2024, all theaters will be merged into a single ongoing roster for Owner / Operators & Flight departments
Jay Beever - Embraer Design (Pompano Beach, Florida)
.png)
Jay Beever is the Vice President of Design Operations at Embraer Executive Jets and a well-known professional in the business aviation and automotive industries due to his design work on high-end, luxury products.
Since accepting the role in July of 2012, Jay has implemented the Design DNA strategy, an industry-leading interior design reference that has spurred an evolution in the way Embraer designs interiors, as seen in the Phenom 300E, Praetor 500 and Praetor 600 products. Jay continues this momentum by applying his diverse industry knowledge to push the boundaries of aircraft design and forge a vision for the company’s future, known as the Paradigma school of thought. Through this disruptive approach, he has contributed to the creation of innovative projects, from forward-looking interior concepts to the Senna Cockpit and more.
Jay is an Automotive Design graduate from Macomb College. His previous experience includes almost 15 years as a design engineer at Ford Motor Company, as well as nearly 5 years as an interior design manager at Gulfstream Aerospace.
Founded in 2012 . 15 Exec Aircraft Projects . Accreditations: Boeing / Airbus . 7 International Yacht & Aviation Awards
Nikki Gledhill - MGB International Design (Spring Branch, Texas)
​
MBG International Design, LLC is a luxury boutique aircraft interior design firm based in San Antonio, Texas, who will take the time to determine your personal style and travel needs to create a customized interior.
A graduate of the University of Texas at San Antonio College of Architecture with a degree in Interior Design, Nikki Gledhill, Founder & CEO, has extensive knowledge of interiors and art history throughout the world. Nikki started her career in the high-end luxury market right after graduation by accepting a position at an aircraft interior design and modification center as an Interior Designer in 2006. Nikki worked her way up to Senior Interior Designer where she was responsible for decorative styling for all in-house design projects. While working at the aircraft design and modification center, she traveled the world meeting with top executives, head of state customers, and vendors; and through those travels Nikki has gained extensive knowledge of high end luxury materials. Those travels were the taste Nikki needed to put her passion for design and owning her own company into plan when creating MBG International Design, LLC. in 2009. MBG International Design is committed to giving each client the upmost attention to design, details, project management and customer service. We strive to provide the most comprehensive, thought-out design with no stone left unturned when reaching final designs and selections. All selections are made of the finest materials, from the finest places on earth.
​
​
Founded in 2009 . 21 Completed Projects . BBJ Approved Design Studio
Annika Wicklund - Greenpoint (Bothell, Washington)
Greenpoint Technologies is a premier business jet completion center delivering custom aircraft interiors to VIP and head-of-state clients. Committed to turning dreams into reality, Greenpoint offers a turnkey completion experience with in-house interior design, engineering, manufacturing, certification, and installation. Strategic goals focus on the client experience by incorporating quality, commitment, and craftsmanship into every program. In Greenpoint’s Design Studio, an award-winning team of designers, visualization artists, and CMF specialists collaborate and develop bespoke designs supporting Greenpoint Completions and, at times, other luxury sectors to include a recent private S76 helicopter refurbishment. The design team is actively engaged in numerous programs including two (2) V-VIP B787-9 interior completions, representing Greenpoint’s seventh and eighth 787s. Greenpoint established a strong reputation designing and delivering over fifty (50) major programs including interior completions, refurbishments, and reconfigurations of both narrow and widebody aircraft. Greenpoint Design oversees the entire completion process, from early concept through delivery, to ensure the finished interior exceeds the client’s expectations for quality and design intent. Greenpoint Design continues to imagine and conceptually design interiors with emerging technology, pursuing exploration and innovation. The company received the Private Jet Concept Award in the International Yacht and Aviation Awards (IYAA) 2022 for its progressive VIP BBJ MAX8 interior design, titled Retreat, and was shortlisted by IYAA in 2023 for its VIP B777X interior, Zen.
​
Annika Svore Wicklund, Senior Director of Design, initially joined Greenpoint as a Design Intern during her college studies, and was immediately drawn to the creative complexities offered by the private aviation industry. After receiving degrees in Mathematics and Art, Annika earned her National Council for Interior Design (NCIDQ) certificate and returned to Greenpoint as a Design Associate. With an impressive tenure of nineteen (19) years with Greenpoint, Annika has overseen the execution of numerous exquisite interior programs including the world’s first V-VIP BBJ3, 747-8, 787-8, and 787-9.
Founded in 1987 . 21 Completed Projects . Licensed BBJ Completion Facility . Multiple awards including IY&A and SBID
Lauri Church - Comlux Design (Indianapolis)
Lauri ventured into the world of VIP green completions in Dallas, Texas, to kickstart her career. She spent around 20 years of her 30-year-long career working for Associated Air Center as an Interior Designer and Office Manager, where she was licensed to practice her design skills.
​
Throughout her career, Lauri has not only managed several Interior Design Departments but also remained engaged in all the aspects of the design process. Her exceptional design skills have earned her an outstanding reputation in the aviation industry, making her one of the top Aviation Interior Designers. She has had the privilege to design hundreds of private VIP completions, including Lear Jets to an Airbus 330, as well as numerous refurbishment projects.
In 2011, Lauri embarked on her career with Comlux and is now the leader of their Interior Design group "Comlux Creatives" in the US. She established the Design Department from its inception and has since helped her team to accomplish more than 30 exceptional private VIP completions. Lauri's primary aim for Comlux Creatives is to craft bespoke and handcrafted aircraft designs that are both unique and elegant, tailor-made for the clients. Comlux Completions is renowned for striking a delightful balance between stylish interiors and functionality.
Began Comlux in 2011 . Over 60 Completed Projects (narrow & widebody) . BBJ Approved Center
%20copy%202.png)
Natalie Rodríguez - Natalie Rodríguez Luxury Design (San Antonio)
Coming from the VVIP completions sector of aviation, Natalie Rodríguez transforms clients' visions to
reality through designing luxury private aircraft interiors distinctively tailored to each individual’s exquisite taste and special aircraft mission. Natalie specializes in Boeing and Airbus aircraft for Heads of State, Ultra-High-Net-Worth Clientele, Corporate and Private Charter Operations.
Prior to opening her practice, Natalie designed for VVIP aircraft completion centers Citadel Completions, AERIA Luxury Interiors and Gore Design Completions. Her background is also inclusive of residential design and commercial business interiors. Throughout Natalie’s career, her designs and projects have been published in numerous mainstream and international trade publications, including but not limited to JetCabin Freshbook, Daily Mail, Forbes, Robb Report, Business Jet Interiors International, Business Aviation Magazine, and Time Square’s NASDAQ Tower in New York City. Natalie holds a Bachelor of Arts degree in Interior Environmental Design from the historic University of the Incarnate Word. With a customer-centric approach to every design and program, Natalie's inspiration is drawn from the special individualized requirements that come with every aircraft, and no two programs are identical. Over the course of her career, Natalie has had the honor of developing work for some of the most famed Individuals, Corporations, and World Leaders (NDA), all with diverse backgrounds, cultures, and design styling ranging from contemporary clean, to business jet classic, to palatial opulence. Natalie Rodríguez Luxury Design is an exclusive, globally recognized luxury interior design practice. We proudly specialize in Boeing and Airbus aircraft, both narrow- and wide-body variants, designing fully customized luxury cabins for aircraft completion and refurbishment servicing Heads of State / Government Bodies, UHNWI, as well as private aircraft for corporate and / or charter use. We are also proud to service luxury cabins for light- and long-range business jets. Our approach is entirely customer-
centric, dedicated to providing bespoke designs that meet the needs of the most discriminating jet owners.
Founded in 2022 . 15 Completed Projects . BBJ Approved Partner List . International Design Awards / 2019
Rick Roseman - Richard Roseman Airborne Design (Santa Fe, NM)
Richard (Rick) Roseman founded RWR Designs in 1992 after being a private presentation consultant to a local aviation design studio. The experience was so rewarding that he decided to launch his own studio. Rebranded as Richard Roseman Airborne Design in 2016, the studio's work has taken them from VVIP aircraft, to Yachts, Palaces and top-tier Business Jets. RRAD has completed three Boeing Business Jet projects including a 747-8 for the Emir of Kuwait, completed at the former Associated Air Center in Dallas. Other projects include a 747-SP for President Shaik Zayad Bin (UAE), a BBJ for Royal Jet (Abu Dhabi) and one of Boeing's first BBJs for Orbit Aviation (Zurich). Other aircraft projects include a Gulfstream 550, a Gulfstream 650-ER and a Bombardier Global Express, the latter of which led to an Airbus A-319 and extensive work on a Palace in Mumbai for the same family. RRAD also completed four yacht projects through the 90s and early 2000s.
Rick Roseman is the founder / director of RRAD as well as Founder & Publisher of JetCabin Freshbook Magazine.
Having studied Art & Architecture in Texas, Mr. Roseman embarked on a career as an interior illustrator which eventually led to a contract with the former Reese Design (Austin, Texas). Over a span of almost ten years, Reese was the sole contracted studio for eight VVIP aircraft for the Sultan of Brunei. The now legendary run of back to back VVIP aircraft kept Roseman busy preparing extensive rendering presentations for all eight aircraft. The rewarding collaboration with the Reese studio inevitably led to the formation of RRAD and a career-long love affair with private aviation, including co/founder of JetModa Magazine and his current JCF Magazine.
Founded in 2019 . 27 Completed Projects . BBJ Approved Design Studio
Autumn Duntz - Autumn Elizabeth Design (Tucson, AZ)
What We Do: We interpret your inspiration to craft a custom design for your aircraft. From choosing quality, maintenance-friendly materials to hand-selecting each distinctive detail, we deliver what you envision, and more.
Our Mission: Our mission is to eliminate the complexity of aviation interior design by combining inspiration and expertise to balance elegant design and regulatory restrictions. Our solutions-driven process and years of experience ensure our clients' travel, whether business or leisure, reflects who they are and who they aspire to be.
The Founder: With more than a decade of experience in interior design and the aviation refurbishment process, I’ve learned how to combine sophistication and craftsmanship with the practicality of aircraft guidelines and restrictions.
My role is to transform your aircraft with a stunning interior and exterior while navigating any challenges on your behalf.
I began my career as an aviation interior designer and refurbishment expert and held various roles that allowed me to develop a holistic approach to interior design for aircrafts. I love the extra level of problem-solving required to negotiate the intricacies of planes and associated regulations, and it’s allowed me to provide the best possible recommendations for my clients during the design process. From a completely redesigned interior and exterior to a simple refresh, my custom solutions and experience will be the difference between what is practical and what you dream of.
Founded in 2019 . 67 Completed Projects . BBJ Approved Design Studio
Jeannine Ohrmundt - Ascending Designs (Frisco,Texas)
Following her education at Richland college, Mrs. Ormundt fell in love with design while working for an architectural / engineering firm. Shortly thereafter she met the love of her life, Scott Ormundt, a veteran of aviation. Quickly seeing the ideal match between design and aircraft . . . "I immediately knew I wanted to be a part of the industry." Mrs Ormundt founded Ascending Designs and convinced Scott to leave Associated Air Center and join forces. The Ormundts initially partnered with the former Aviation Concepts (Dallas) for a few years before eventually flying solo. "Working with Aviation Concepts brought new depth to our capabilities. We became immersed in all aspects of aircraft design and completion management with projects that included two presidential aircraft, several heads of state and multiple VVIP clients."
​
Ascending Designs is a leading aviation design and completion management firm providing world class interiors through creative strategy, superior design, technical innovation, and quality that exceeds industry expectation built on integrity, relationships, and performance. We realize this by consistently expanding our knowledge in the evolution of design, technology, methodology and humanity. Our unique fusion of design and completion management expertise along with aircraft knowledge and experience allows us to navigate through the completion process minimizing completion risk and maximizing the aircraft investment resulting in a successful luxurious timeless interior.
Ascending Designs approaches each project with passion and commitment. Our goal for each project is that it exceeds the client’s and industry expectations by delivering superior design, technical innovation and world class quality. Additionally the firm focusses on schedule and financial commitments throughout design and completion management.
Founded in 1996 . 30 Completed Projects . BBJ Approved Design Studio
F E A T U R E D A N I M A T I O N
By Special Contributor: Cristina Scarlata
Sensory
Design
%20copy%206.png)
The Art of Designing for the Senses
Kestral Aviation's Dreamjet 787
by: Cristina Scarlata - Special Contributor
As the sun sets, guests walk the red carpet arriving at the elegant and minimalistic entrance. A soundscape evoking gentle beach waves immerses them in a relaxing seaside atmosphere. A fine-glass doorway, delicately carved with a customized ocean-inspired theme, opens onto a welcoming lobby. As the guests access the open lounge area, an almost imperceptible scent of white roses, chamomile, and citrus oils, inspired by the host's favorite childhood scent, adds to the serene atmosphere. The stunning marble floor features a statement Calcutta medallion. Sandalwood columns with metallic accents frame the exclusive collection of abstract art hanging on the walls.
​
A neutral palette of colors contrasts with vibrant accents and vivid hues of coral blues, a tribute to relaxing tropical beaches. Gentle lighting envelops the curved twin-faced TV and the luxurious sofas embellished with exquisite stitching as they get immersed in a spatial sonic experience featuring Philip Glass' In the Upper Room.
​
The elegant dining room leads into a breathtaking living area. Tufted carpet, designed with Fibonacci-inspired shell patterns, creates an inviting path toward the seating area, where comfort blends with luxurious and timeless embellishments, creating an atmosphere of relaxed luxury and harmony. Refreshments are served on chilled Imperial glass, adding a feel-good, feel-home, relaxing vibe to the tastebuds. Guests relax on ultra-luxurious ergonomic seats upholstered with the finest leather. Customized soundscapes envelop each seat. A comforting, professional voice prompts them to please fasten their seatbelts. This most personal and private of jets is ready to take off.
Courtesy, YASAVA Seating Group
Serenity and calm are elusive commodities in the human experience, but the psychological community all agree on one thing . . . that it's most often achieved when all our senses are tantalized simultaneously.
"Architecture is really about well-being. I think that people want to feel good in a space."
Zaha Hadid
​
Over the years, I have had the privilege to access some of the most lavish, ultra-luxurious, and sophisticated cabin interiors ever designed for private jets. From the serene beauty of timeless, minimalistic Hygge-inspired themes to the most extraordinary creative recreations of maximalist bars, lounge and conference areas, gyms, and presidential suites, cabin interiors allow interior designers to produce unparalleled spaces; each cabin concept is a stunning marvel of design outfitted with the most exquisite and rare materials that elevate each cabin to the highest dimension of elegance, beauty, comfort, and advanced functionality.
My favorite cabin interiors are those designed as holistic sensory spaces in which interior design studios go beyond focusing on the visual, architectural, and tactile experiences to explore and fully embrace the importance of immersing their clients into a sensory realm, centering their interior design concepts in pleasing all the senses.
"The greatest wealth is health."
Publius Vergilius Maro (Virgil)
As a wellness-centric philosophy, sensory design has redefined Business Aviation interiors. Sensory design implies that each cabin interior must engage passengers meaningfully, efficiently, and respectfully. An inclusive, organic, and multisensory approach to interior design must balance all the senses, sight, sound, touch, smell, and taste, to create harmonious, memorable, all-immersive cabin experiences.
​
The traditional focus on aesthetics and exclusive materials, furnishing, and architecture has transcended to explore how audio, taste, and smell must leave behind their traditional supporting roles and become indispensable players contributing to passenger wellness, entertainment, work environment, and relaxation.
​
At 40,000 ft. of altitude, the circadian rhythm affects all bodies and minds, especially in long-range flights. A deep understanding of the role of lighting and immersive sound has become crucial for interior designers to minimize jetlag. Carefully selected scents, intelligent lighting, and customized sound design are vital to creating the ideal atmosphere in the cabin, positively impacting the passenger's mood and balancing their energy levels.
​
Companies specializing in cabin audio systems for private jets continuously innovate, engineering wellness-centric acoustic solutions. Seat-centric audio, intelligent sweet spots, and immersive audio technologies go beyond providing audiophile-quality listening and entertainment experiences. Today the focus is shifting to the emotional and physical benefits of music, spatial audio, customized soundscapes, and vibroacoustic wellness.
​
The same occurs with lighting companies, offering designers lighting modes that go beyond pleasing the eye and can adapt to each cabin's specifications considering circadian rhythm. Additional elements, such as aromatherapy, culinary design, Zen and mindfulness-friendly spaces, and the continued commitment to select sustainable and eco-friendly materials, contribute to the sensory composition of each cabin with extraordinary levels of customization.
​
Today, enveloping 8K TV screens can wrap a whole cabin projecting the highest quality of visuals, transforming the cabin into immersive visual landscapes enhanced by spatial soundscapes, lighting shows, and bespoke scents to immerse passengers in a new dimension of tranquility and entertainment, offering a wide selection of customized possibilities and combinations.
​
"The quality remains long after the price is forgotten."
Sir Henry Royce
​
Sensory design is an investment in passenger wellness. As interior designers apply sensory design, the cabin becomes more than just an aesthetically pleasing environment. The most exquisite cabin interiors seamlessly blend design with technical intelligence. Ergonomic seats capable of recognizing body shapes and temperature, acoustic-enveloping headrests, 3D spatial sound, LED lighting, and curated scents and flavors unite and balance to enhance the flying experience and allow passengers to reach a new dimension of relaxation, comfort, and well-being.
Stunning aesthetics, outstanding spaces, and lavish luxury are no longer enough to satisfy the challenges and expectations of Business Aviation customers. Designing blueprints with all the senses in mind has awakened a fascinating world of organic and dynamic cabin interior designs that will continue to raise the bar of creative excellence inspired by the human-centric principle of holistic wellness.
​
​
Cristina Scarlata is a special contributor to JCF Magazine
Cristina is also Senior Director of Strategic Marketing for ALTO Aviation
​
%20copy.png)
%20copy%206.png)
Automotive Design
and the inexorable influence it has on aviation design
I think, aesthetically, car design is so interesting - the dashboards, the steering wheels, and the beauty of the mechanics. I don't know how any of it works, I don't want to know, but it's inspirational.
- Paloma Picasso
Article by: R i c k R o s e m a n
Co-founder / editor - JCF Magazine
Automotive Design, the Holy Grail & Guiding
Force Behind Jet Interiors
In the mobility design space, it’s hard to find a designer that will disagree with the assertion of my title. High-end automotive design is arguably the highest art-form of interior cabin design, especially among those that aspire to it in other spaces – notably the industrial and aviation design community entrusted to today’s jet interiors. The design itself, not to mention the fit and finish, of almost any Mercedes Maybach, Bentley or other top in motorcar is, hands down, the pinnacle of the artform. Is it because the automotive studios attract the most talented and disciplined designers on the planet? No, however there could be a good argument made that many young designers do aspire to automotive design, for the sheer catche of it. But the reality is, it’s not about talent or discipline or so-called stylistic intellect. In fact, it’s not about humans at all. At the end of the day, it entirely boils down to simple economics.
The fact is, when a top end motorcar completes its design cycle and is ready to enter production, it will be reproduced over hundreds, and in most cases, many thousands of units. So, the development cost and all those thousands of design iterations, can be amortized over the production run and funded by the very steep prices they command to the buying public.
That’s one part of it. The other component is that the typical design & development cycle of a new high-end car model generally ranges from 3-5 years. For all of us in aviation interiors, we know that kind of runway will never even come close to feasible within the life cycle of a one-off VVIP aircraft interior. It may come close mind you, within the top-end business jet OEM environment – but even still, it’s not the same world. Automotive design and engineering enjoys a very unique environment wherein the luxury they are creating is afforded by the built-in luxury of the business model within which they operate. The business model for cars, especially very high-end ones, is a completely unique space where the design and development of a new model, can be nourished, refined and labored over for years; a very sweet and enviable game to be a part of, to be sure!
And as if it weren’t obvious to start with, the two design spaces (automotive and jet design) are arguably the two fields that literally have badass inscribed at the top of the job application. The cool factor alone is lofty, especially within the parlance of such elite professionals. If you’re young and on fire, let’s face it, a seat at either table has braggin’ rights!
And maybe that’s a good place to start. Let’s take a peek into the world on one
Mr. Flavio Manzoni. If you don’t know the name, he’s the king sh---t, top dog (a.k.a. Vice President of Design) at Ferarri in Maranello, Italy.
The below is partially excerpted from an article by Ted Gushue in Petrolicious
Flavio Manzoni is a busy man. When he isn’t penning the future four wheeled home of a crispy Cavalino, reinventing the chair for Poltrona Frau, or overseeing his massive design team you might find him sketching away on the next timepiece from Swiss manufacturer Hublot. All of this is to say that to get 15 minutes with the man is a feat of mechanical engineering in and of itself – but that’s not by his design.
​
When I finally sat down with a man who I’ve been reading about for over a decade I was immediately humbled by how deeply passionate he is about not only his work, but about all of the work that came before his that allows his to be possible. “I’ve watched the 250GTO Petrolicious film dozens of times, it’s just a perfect car.” he explained, stroking our collective ego at the office while also reinforcing how important the legends of Italian design are to everything he does. Below is a lightly edited transcript of our conversation, I hope you enjoy learning about his process as much as I did.
​
Ted Gushue: So Flavio, what was the first car that you ever remember driving?
​
Flavio Manzoni: My first car? A Fiat Cinquecento. It was the Cinquecento of my father. My father was a very tall man, the Cinquecento was so small that I remember I thought he looked so strange at first when he drove the car home.
​
TG: What drew you to design, and specifically automotive design at such a young age?
​
FM: Since I was born I don’t know why, but it was immediately apparent that I had a tremendous passion for drawing, for sketching. My father was an architect, so we always had sketching tools nearby.
It’s not so surprising really that my brother Maurizio, who is a designer at Studio Memo in Florence, and myself both ended up in design. Naturally as we became more focused on sketching more and more of our sketches became of cars. We were completely crazy for cars, sketching every day, new cars. Complete design briefs almost. Exteriors, interiors, engines, name, brand, everything. It was a kind of sickness.
​
TG: You didn’t go straight for automotive design though—you studied architecture in school, right?
​
FM: I started in Florence, because architecture didn’t exist at the time in Sardinia. So I decided to go to Florence, which of course is a beautiful city, so it was a fantastic experience for me. Not only because of the city but because of the important masters of the university like Achille Castiglioni, who of course is responsible for so many of the most important lighting fixtures and objects of the 20th century. You also had many, many important architects were also there at the time. It was an incredibly rich environment for a young designer.
​
TG: While you started off with a clear passion for cars, how did that manifest itself in your time studying architecture? To that end, like Castiglioni, you also began to build a passion for horological design. As someone who is a fan of what you’ve created, it’s unquestionable that your products, whether they be a watch for Hublot, a Fiat 500, or a LaFerrari, they all carry the mark of someone who has a deep personal connection to that product, and a genuine respect for that world.
​
FM: Well, I was very eclectic when I was young. So, this is a kind of characteristic that I probably have. I really love to find connections between different fields. So, when I design a car, I don’t sit around and stare at other cars. I need to be inspired by something tangentially related. It’s a kind of “serendipity philosophy”. I don’t know if that’s the right term to define it, but I love to find inspiration and build intuition in one field from another. When I begin work on a watch for Hublot it was not a standard design brief “make a watch that says Ferrari on it”. It was an organic collaboration that forced us to draw inspiration from outside of watchmaking. To be able to bring new seeds and new energy and new inspiration to an object that is formerly completely different, but in terms of design approach can be very close to Ferrari.
​
We use much of the same philosophy at Ferrari now. At our core, form follows function. Everything we do begins with an innovation. Technological materials, high performing materials. New production processes. You will see that in all our car designs. They flow into each other, carrying the same philosophy. And the beauty of it is that you discover how much personality you can give to an object, be it a watch or a car, starting from a point of view which is completely different from the designers normally working in this field.
Ferarri and indeed Mr. Manzoni practice what he calls Lightweight design. He says it is an edict within the design process of all their cars.
“When we design a new Ferrari,” he says, “we employ something called ‘addition by subtraction’. As we shape the car and dig away, it must become visually lighter, not just physically.”
Flavio Manzoni -
Design Chief / Ferrari
This, more than any of Manzoni’s comments, I find the most interesting. As a jet designer myself (or at least for a big swath of my life), I find this true. That is to say, I understand it, on an intrinsic level – and I think most other world class aviation designers do as well. When developing a jet interior, it is almost always the case where we want to include all the details swirling in our head – but as it comes along through the various iterations, you inevitably strip out the superfluous details in uncovering the final design. It is a process of refinement that holds in its balance, everything that is needed and not one thing that is not.
​
And when you then consider all that has to be crammed into the very small space of a motorcar, let alone a two-seat Ferarri, this practice…and this kind of eye, must be brought to bear in achieving a truly successful design – be it a car or the cabin of an $80 ML aircraft.
The interview continues…
​
TG: A good friend of mine is an industrial designer. He works quite frequently with other brands outside of his own, and adheres to a golden rule for collaborations: 1+1 must equal 3. All too frequently brands do “collaborations” by just putting a logo on something and calling it new and charging more for it.
That said, outside of the watch and car world, who else do you look at for inspiration?
​
FM: As you can see, I’m very passionate about the masterpieces of Italian design through the ’60s and ’70s. I think if you look at the Valentine typewriter of Olivetti, the TV set, the chair. This chair has been designed in 1962 by Pio Manzù. Pio Manzù was the designer of the Fiat 127. Nice example of a transfer from one field to another. Our team recently designed a beautiful chair for the Italian furniture manufacturer Poltrona Frau. I like to think that this is a vital part of keeping your mind fresh and engaged.
​
But regardless, the beauty of these objects from the Italian Masters is due to the fact that, from the artistic point of view, they are masterpieces sure, but they are absolutely functional too. Their shape is always linked to the technological innovations of the day and they don’t follow any stylistic trend. The designs are just based on the functional codes of the different products.
​
Once again, I like his comment here. It has an obvious and critical relevance to design in general but certainly to aircraft interiors. What he is saying of course, is what famed architect, Louis H. Sullivan first said back in 1897 – that “Form must follow function”. As designers, it is pointless and in fact useless (beyond the bluster of wild concepts) to create an amazing aesthetic, if the functional aspects of the interior or undernourished or worse, ignored altogether.
For any mobility interior spaces to succeed, they must truly blend and seamlessly integrate both form and function. If not, there only value is a pleasing image, nothing more.
FM: So I love Achille Castiglioni, Marco Zanuso, Bruno Munari, Enzo Mari, so all the most important Italian innovators of that period. They were just doing what no one had ever done before. Joe Colombo too. if you look at the objects of Joe Colombo they are still very impressive, very modern, and still inspiration for every object of today, like the Arflex sofas, the Arflex armchairs. They are still so beautiful.
​
TG: To reach the point in your career where you’re able to shape the visual future of a company like Ferrari is an incredible accomplishment. Was there ever a turning point where you really felt like doors were starting to open to you?
​
​
​
D E S I G N Q
Similarly, as we see in the sketchcard to the left, aviation interior designers work up interior concepts from the same elemental blocks, utilizing early concept sketches from which to develop the designs via countless iterations before getting to the final design. These sketches are by UK based studio Design Q and are part of a collaboration between themselves and Comlux aimed at developing potential narrow-body designs that can be used both around the A320 Neo or the BBJ Max.
​
​
Design Q specializes in both automotive and aircraft interior design
FM: I never think about that. Every project I approach is individual and requires total focus. Whether it’s LaFerrari, a Hublot watch, a Fiat 500, a chair, it doesn’t matter. Every single thing I set out to do I must focus like this, fully, otherwise it will never be significant.
Of course I have to say, Ferrari is another thing. [Laughs] It’s not a car. Ferrari is a dream, it’s something else. It’s the summation of many many aspects of what makes us all passionate about motoring. The overcoming of every expectation around each car that we produce is an incredible feat, but we do it with very clear objectives.
​
Beauty is one of these objectives. Working at Ferrari, I’ve learned how important it is to make real design, not just style. Real design is when the form and function are one entity. Not the form conceived as a coverage over mechanics, but something where everything is organically connected. The final shape you see of a Ferrari is the shape that is absolutely necessary for that specific car. And the same goes for the interior.
Here again, what Mr. Manzoni says above is particularly relevant to aviation design as well. When a designer is contracted to create an interior for their customer – or similarly the major OEMs embark on the development of a new aircraft, it is most certainly, among other things, about selling a dream. In this sense, the end result, if it’s truly successful, goes beyond even form and function. If it’s truly a great design, it will elicit emotion and bring the more dreamlike associations of our subconscious into reality.
This Is Not A Photograph
This is a highly detailed 3D rendering with
precise materials, colors, finishes and textures
West Coast Shuttle - RRAD Design
Aviation seating, and in particular chairs, are the proverbial fly in the ointment - the three-day old potato salad in an otherwise perfect picnic. Few really want to talk about it much, especially the OEMs that have to continue selling their otherwise amazing, highly advanced aircraft, or certainly the seating majors that have managed to keep us living in the past (sorry but it's true). But we all know it. The seats in Gulfstream's new G-700, at $80 ML a copy, or Bombardier's Global 8000, similarly priced - are beautiful to look at because talented designers have nurtured them; poured themselves into making something beautiful out of grossly aged seat platforms that, forgive me, in their naked state, resemble Frankentein's favorite lounger. Do these seating platforms have to meet the extremely rigorous regulatory requirements of 16G certification? Of course, but that was back in 1988!! That's when Prince kicked off his Love Sexy '88 Tour in Rotterdam for Chissake! And he's been dead for 7 years now!
Now if I'm stepping on some toes here - and I'm sure I am, then by all means, call me out if I'm wrong. But I think the bulk of which I speak Keemosabi, is pretty accurate. Most of the seating in modern, crazy expensive business (and VVIP) jets are built upon platforms that were certified in the late eighties / early nineties. Now make no mistake, these companies did what they had to do. The forward crash regs went from 9G to 16G in one fell swoop. That's pretty much DOUBLE, if your keeping score. No small task. These companies had to adapt and they had to do it quickly. But quick doesn't always allow for nuance and things like human factors, vertebrae conformance, and oh yea...comfort! And trust...they didn't. But, ya know what, that was then and now is now. It is way past the point for change. The talented designers and completion centers out there have done all they can, pulled every trick out of their hats to make a sow out of pig's ear. We need some help from you seat manufacturers. It's time to stop bringing the same old potato salad to the party! With all respect, and with a full understanding of NRE, it's time to Invest in platforms that bring aircraft seating current with the marvelous, incredibly advanced airframes that surround them.
So, with that little rant out of the way, let's get on to the title of my article, shall we? Let's have a look at the more hopeful aspects. For at least two decades now, the world's top designers have been sketching themselves to sleep at night in pursuit of new, more advanced seating, especially chairs - chairs that resemble the ones we have in our homes and more importantly respect the human form - delivering true long-haul comfort and aesthetics that for too long have simply been stricken from the menu. Today we're going to look at concepts from some of the world's top designers - what they envision for the future and more importantly seats that will finally address the long-standing wants of their customers. Are the concepts you will see entirely practical in all cases? Maybe not, but the whole purpose of creativity is to first imagine what is possible. Imagination is at the forefront of all great change. So with that' let's dive in!
Renowned for his work across the domains of aviation, yachting, architecture, and design, Jacques Pierrejean is synonymous with creating works of astounding elegance. He founded the company PIERREJEAN in Paris in 1975 and since then, has completed a wide array of projects for renowned companies across the world.
​
Pierrejean’s philosophy on design and conceptual projects is largely based on nature and in he has long been fascinated by the perfection of the human body, which is probably why the above concept so obviously conforms to and respects the human form. The concept, simply titled OI, is both a study in comfort and aesthetics. Notice how Mr. Pierrejean hasn't added one superfluous detail, only those required to provide comfort, functionality and appeal.
​
Will this evocative lounger be turning up in coming interiors? Too soon to tell but indeed it hints at a far more advanced and visually appealing seat pod in which to relax while airborne.
Jaques Pierrejean
COCOON Concept
Jean-Pierre Alfano
The Cocoon Seat is a concept aimed at providing an elevated sensation of luxury and comfort by allowing passengers to rest and sleep in their own space, by literally creating a bubble/cocoon-like space around them.
Aside from integrated the latest comfort features on the seat itself (as for example a morphing shape to alleviate and balance pressure distribution and adapt for passenger specific morphologies to improve comfort on long duration flights), the main goal of the concept is to allow passengers to create a bubble of privacy for resting and sleeping. The seat features on the aisle side a sliding door that stays open during TTOL phases, and that allows for the segmented seat upper section to be guided in a fully closed configuration to create the cocoon effect on the passenger for the rest of the flight. The segmented top features an electrochromic function in order to be fully opaque at the touch of a button.
The seat cushions and seat shell are fitted with real-time health-monitoring sensors that provide information on passengers, and also sleep and safety belt status, thus avoiding the airworthiness safety requirement of visual assessment by the crew.The seat design integrates a ventilation system and an active background noise-cancellation system to ensure passenger comfort. This seat concept is particularly adapted to corporate long-range aircraft operators that require full lie-flat seats and want to offer an extra level of comfort and privacy to the passengers.
- Jean-Pierre Alfano
Airlander
DESIGN Q
Howard Guy - Founder / CEO Design Q
LEFT BEHIND
My biggest pet hate are business Jet seats.
If you set the brief to most designers, what you get back is a lightweight interpretation of the famous Eames chair, but then I use the word interpretation very cautiously in most of the interpretations I have seen.
Eames got it so right, he designed a lovely Chair (Seats are associated with transport so cars have seats not chairs and aircraft have seats not chairs. ‘’A chair is a type of seat typically designed for one person and consisting of one or more legs and is a mobile piece of furniture’’, therefore an aircraft seat or car seat is not by any stretch of the imagination, a chair) The Eames chair is Delicate but sturdy , simple yet sophisticated, low, looks comfortable and just is!
My first week as a professional car designer at Austin Rover we were designing seats and one of the student interns called it a chair. The Design director publicly humiliated the poor girl (can I say that) and from that day forward his nick name to me was Tricky Dickie.
At school I had a PE teacher who everyone called Peabody. I thought it was his name so imagine when I called him Mr Peabody (I was a well mannered boy) to find that it was not his name and was a nickname describing the very small head he had in relation to his body.
Aircraft seats are governed entirely as I see it by three things.
-
A frame that can never be changed
-
A seating position designed for eating at a table
-
A piece of equipment that you would never choose to put in your house
Although an aircraft is a piece of transport, the seating departments and suppliers pontificate how and why you cannot produce a 9 or 16G seat unless you make it look heavy , awkward or just dam ugly.
Interestingly auto seats are tested at 20G and yet some of them are works of art and at a quality higher than anything flying.
​
However why should an aircraft seat look like an auto seat and surely in an environment where you walk around and lounge and relax, should not the design be based on a Lounge rather than a Bus?
There is a movement coming when Divans will look like inviting Sofas and the chairs will be something you want to jump into and curl up with your best friend, but for the moment we do our best putting up with what we are given.
Airlander shows a revolutionary seat. Revolutionary because it has a lower longer seating position. This lower H point significantly eases any 16 G ambition. Airlander however, being a MAX 70 Knott Airship and not a Jet, needs only 3G or at worst 5G and my phone has got that.
Another revolution is that the seat can rotate allowing for different in flight configurations. These configurations include group seating, private seating and also large group seating allowing a Dance floor to be revealed.
These ideas are finding their way into commercial and business aviation, Design Q are leading the way and the old way is being left behind.
​
- Howard Guy
The INAIRVATION Chair Concept
When German premium cabin and airplane seat producer INAIRVATION contacted us for a design based on their innovative CHAIR concept, we were immediately thrilled. Topics like aviation, private jets and business travel exude fascination and usually include high complexity. Private jet interiors are often characterized by low and narrow cabins equipped with large and heavy airplane seats. That’s why we decided to focus our design on creating a business jet interior which feels spacious and light. Our design is based on the CHAIR – a customizable seat concept by INAIRVATION which allows for versatile options of configuration. Instead of hiding this innovative modular structure of the seat beneath layers of padding and cushions, we rather chose to highlight its technical aspects through our design. This approach supports our philosophy ‘design must be honest’.
​
The result is a puristic design, which is based on a clear horizontal structure created by floating elements. Following a holistic approach, we applied this concept to the entire interior design of the cabin. The interplay between the different areas of the jet is emphasized by sideboards, which mirror the floating, horizontal structure of the seats.
An open cockpit accentuates lightness and spaciousness. It allows the passenger to directly experience its functionality and the unique thrill of flying.
Christian Schwamkrug - Design Director
Concept Bliss
Visualization by:
Concept Bliss by: SkyStyle
Visualization by: KiP Creating
When it comes to Private Jet seat design at "SkyStyle," we prioritize security and comfort. While some designs may catch the eye with their defined shapes, achieving them often means sacrificing comfort for style due to the harder foams one needs to use so that still, after being trimmed with leather on similar materials, upholstery can achieve "edgier" shapes.
Our approach keeps end customers in mind. Beyond aesthetics, we value the hours passengers spend in the aircraft and the comfort they'll feel upon landing. Factors like softness, contact materials, and supporting areas are carefully considered.
In the concept above, our intent is to make passengers feel like they're "sitting on a cloud" as soon as they board. The design focuses on a graceful silhouette and plush foams, foregoing excessive embellishments.
Our seats aren't just visually inviting but also inherently comfortable. This is where KiPcreating enhances our visualizations, capturing every detail that contributes to quality – from comfort to the dedicated team's meticulous work.
Lucas Columbo - Director / SkyStyle
Lucas Columbo & Max Pardo
jointly accepting their 2018 Yacht & Aviation Award
Giuliano Sabadin (Florence, Italy)
Giuliano Sabadin - Sabadin Design
The conceptual design of a luxury seat for airplanes embodies a seamless amalgamation of elegance, modernity, and sophistication.
A comprehensive investigation into stylistic elements is imperative to guide the realization of a harmonious outcome. This particular seating arrangement draws inspiration from the intention to blend the conventional streamlined configuration of aircraft interiors with the incorporation of novel, more rounded contours. Deriving insight from the aerodynamic principles inherent in aviation, the curvature of the seat serves a dual purpose: a subtle homage to the aircraft's architecture and an enhancement of passenger comfort through the provision of generous relaxation space. The gentle curves of the seat's edges emit a tender and welcoming aesthetic, conjuring sensations of comfort and serenity, even within the dynamic realm of aviation.
The chosen color palette for this seat's design exhibits a deliberate selection of muted and understated hues that collectively establish a serene atmosphere. The inclusion of earthy tones such as taupe, deep charcoal, and soft cream contributes to a contemporary ambiance while retaining an enduring quality that adapts gracefully to shifting trends. Integrating cutting-edge materials and technology, the concept of this luxury seat ensures impeccable functionality without compromising its aesthetic appeal. The incorporation of adjustable mood illumination, embedded sound within the backrest, and premium upholstery that harmonizes with the seat's organic forms underscores the embodiment of contemporary luxury.
This conceptual luxury seat for airplanes, through its sleek contours, innovative material application, and ergonomically sound design, encapsulates the vision of modern air travel. It is a domain where passengers find themselves at the nexus of aesthetics, comfort, and innovation. In this sanctuary amidst the skies, travelers can indulge in an elevated journey experience that aligns with the ideals of refined aesthetics and innovative comfort.
Aircraft seating, and in particular chairs, unfortunately remain out of step with almost all other modern components in today's high-end business and personal aircraft. That's why you've seen, and will continue to see, periodic updates from us on the subject.
The current lag in comfort and aesthetics for most 16G certified seating WILL inevitably change but as we know, all change is led by dialogue, awareness and informed conversation. In order for the major seat manufacturers, as well as newer companies entering the market, it will require significant investment and exploration to bring about the desired change we all want to see. Developing seat frames that meet rigorous 16G regulations is neither cheap nor quick. But that piece is only where it starts. In order to create seats that look and feel like the ones we have in our homes , will require exhaustive design iterations, trial and error, countless developmental steps and perhaps years of testing to ultimately find their way onto real aircraft. Regulatory impasse is nothing new to many industries but in private aviation, the responsibility isn't merely on meeting regulations. It's on blending the substructure that meets those regs with superior comfort and unmatched aesthetics. Only such a balanced integration will accomplish the goal.
But the one thing that almost no one will argue with, is that the time is now! As the old adage goes, "it ain't brain science!" These are aircraft seats and there is more than enough engineering acumen, talent and investment dollars out there to solve the problem.
In the meantime, we will continue to share dialogue and updates like the one above in helping to move the dial forward.
- Rick Roseman, publisher
--
Getting "one-off" extremely custom interior components fabricated - can be challenging and often come late in the program. Many such requirements simply lie beyond the capabilities of some firms, while others are reticent in taking them on because of the unknowns. Yet one firm has built a reputation on precisely such projects over four decades.
.png)
“And now accepting her third Grammy, please welcome..."
Fain Models was originally founded in 1984 for the purpose of fabricating prototype housings and consumer products for engineers and industrial designers. But over time their market segments have greatly expanded and in directions the firm's owner, Jerry Fain, couldn't have imagined. Today aerospace is the largest of those segments - and interior related projects are a specialty for the firm. In that time, their investments in machinery, computers, state-of-the-art CAD/CAM and an extremely talented workforce have allowed them to meet virtually any requirement thrown at them.
In the early years for the company Mr. Fain realized his own personal desire to be challenged by difficult and unusual projects - and therefore has tailored his firm to meet those requirements. To be sure, Fain has helped many aerospace companies develop very complex high-tech functional components for both civilian and military aircraft. But just as many projects have come from designers and completion centers needing very specialized one-off aesthetic components for VVIP interiors.
In fact today, Fain Models is so renown for these challenging decorative components that somewhere along the way, they picked up the handle 'The 5-Axis Wizards'. During a project meeting at the former Dallas based Associated Air Center, I overheard their design director remark "It doesn't seem to matter what we pitch at them, they manage to build it for us - and with zero defects." Almost anyone else in the industry having utilized their services will agree. In the world of highly custom aircraft interiors, firms like Fain are not only needed, but essential. The business of getting such projects built and installed per their demanding specs is often extremely challenging - especially given the contractual schedules of such completions. And at the end of the day, it's these very complex, highly custom aesthetic components that threaten to stall projects and throw them weeks or months behind their delivery dates.
But this is the sweet spot for Fain Models. "It doesn't mean that such projects don't give us fits sometimes." says Mr. Fain "It just means that along time ago, I decided we'd rather be challenged on each new project rather than be bored building widgets over and over."
"I know one of the big sectors for Fain Models over the years, has been VVIP and business Jet aircraft. Can you tell us how and when that came about?"
"Yes, we have extensive experience and capabilities in manufacturing head of state aircraft interior components. We work closely with interior designers and completion centers in developing often difficult aesthetic components that will go in the interior spaces - be it ceiling features, sidewalls, art pieces, lamps and what have you. So yes, we have helped modification centers complete many special, one-of-a-kind projects. Our many customers include L3, Comlux, Lockheed, Boeing, Robinson Aircraft, Triumph Aero, Sikorsky, Raytheon, Bombardier Aerospace, Gulfstream, Ozark Aircraft Systems and Associated Air - to name a few.
I knew Fain Models did virtually all their own engineering so I asked Mr. Fain about their in-house capabilities.
“Like every division in the company, we take pride in our ability to create and manufacture some of the world’s most complex components. That requires a robust engineering department and we’ve always placed a strong emphasis on that” says Mr. Fain. “Plus, one of our edicts is that we offer our customers the confidence of knowing that we will complete their projects on time and within budget, even when the data is either incomplete or non-existent. Many of our customers come with less than complete data, and we don’t want that to be a stumbling block for them in attaining their goals.”
​
"Our CAD/CAM department can design just about anything you can dream up." says Fain. "We use state of the art computer hardware and software. Our abilities span the engineering market with products like SDRC IDEAS, SolidWorks CAMAX, and MasterCam. We can design and manufacture from 2D layouts, 3D surfaces, and 3D solid models. Our two Laser systems can verify our customers products to within thousandths of an inch and completely reverse engineer anything within a 100-meter cube. The process of data exchange, both import and export, is seamless. We the ability to handle the standard data formats like IGES, DXF, and DWG but can also support CATIA, VDA, STEP, all graphics formats, and several others. We can also import blueprint and mylars for data creation.
"I know one of the big sectors for Fain Models over the years, has been VVIP and business Jet aircraft. Can you tell us how and when that came about?"
"Yes, we have extensive experience and capabilities in manufacturing head of state aircraft interior components. We work closely with interior designers and completion centers in developing often difficult aesthetic components that will go in the interior spaces - be it ceiling features, sidewalls, art pieces, lamps and what have you. So yes, we have helped modification centers complete many special, one-of-a-kind projects. Our many customers include L3, Comlux, Lockheed, Boeing, Robinson Aircraft, Triumph Aero, Sikorsky, Raytheon, Bombardier Aerospace, Gulfstream, Ozark Aircraft Systems and Associated Air - to name a few
"So Jerry, in prior conversations I remember you telling me that you periodically take your entire staff down to the local theater to see the latest Star Wars movie or whatever. Is that something you've been doing for a long time?"
"Yes, I don't remember exactly when we first started that - but it's something I enjoy and I think our staff does too. I mean we all work really hard around here - especially them - and so it's good for us to all get out together once in a while for some fun. And of course Star Wars movies are always fun so I guess it's just one of those things that's stuck and can look forward to. I also know in a practical sense, that personnel problems can often be avoided by maintaining a tight team that can enjoy each other. I mean things are hard enough when projects are running smoothly. . . no need to invite more, right!?, he laughs."
"Sounds like wisdom to me! So let's stay with that for a second. . . what would you say has been your biggest lesson over the last four decades""
Again he smiles. . .
"Enjoy the ride, and try to learn something valuable from each new project."
To learn more about Fain Models LLC, visit: fain.com
As this year's NBAA/BACE begins, the venerable
Boeing 787 Dreamliner will celebrate its 12th birthday.
.png)
Does your company have something our readers need to know about?
%20copy%206.png)
Four Decades of Aviation Artistry
So many tufts...so little time
by Rick Roseman -
Back in 2008, I had a client on a new Gulfstream G-550. From the beginning, the customer had told me they spent much of their time on an island in the Caribbean called Anguilla and that the whole family’s great passion was being by the water. That initial conversation was simply to inform me on how they like to use their aircraft, common routes etc. But the next morning over breakfast at their home in LA and long before ever discussing materials, palette, layout etc., he leaned in with a grin and quietly told me wanted a carpet that mimicked water…WATER.
The next morning as I headed up to Long Beach for our first set of formal meetings with Gulfstream, I called Rich Ruggeri at Scott Group. At the time Rich managed the Dallas showroom and had called on me a couple of times. I had visited their showroom once and remembered being impressed with their product. But even more so with the process he had taken me through in working with designers. I thought to myself, well if these guys are as good as they say they are, let’s see if they’re up to this challenge.
Rich never hesitated. He said, “well it’s not something we’ve done before…but let’s go for it.” We set up a collaboration between myself, my lead designer, Rich and their lead designer in Dallas. I can’t even remember how many meetings we took trying to work out a carpet that truly captured the character and movement of water. We ultimately decided on a 100% silk carpet because as Rich informed, it would come closest to achieving the movement part. “Silk already has a natural undulating quality,” he said, and certainly it does. Silk yarns catch light in a unique way that no other fiber does and of course it has that wonderful shimmer as the pile is caressed or changes direction.
There’s much more to the story but the bottom line is this: In spite of the significant challenges we faced, the project remains one of the most rewarding and fun collaborations I’ve ever head with a supplier. Rich and his team, in close collaboration with their mill in Grand Rapids, must have produced five strike-offs before we hit the right combination of yarn, pattern and palette. But when we finally got there, we all knew – his team and ours – that we had indeed managed to turn loomed silk into an undulating sea!
As is the case with all great jobs, the client never sees what you go through to achieve his or her vision or desires. But as designers, it’s the process itself that is so rewarding and when you realize you’ve chosen the spot-on perfect supplier, it’s that perfect storm that takes you places you didn’t know were possible.
​
My friend Rich Ruggeri has since taken his retirement but the team at Scott Group Studio are still at the very top of their game, with a unique confluence of artistry, know-how and craftsmanship. Today I had the pleasure of sitting down with Alyssa Aguilar, Scott Group’s Marketing & Brand Manager. Below is the result of our informal Q&A.
​
​
JCFM: A design colleague once told me that she regarded carpet as the "foundation" for any successful jet cabin concept. I tend to agree. With that in mind, can you briefly describe our readers what a typical interface is like in working with a designer to find the right carpet design and color palette for a jet project.
AA: We have a team of 9 in house designers and 4 in our Visual Design Department who develop and render the design concepts. We can help provide a starting point or work based off a concept. The starting point may be a physical sample, a pattern selected from our website, or designers may send us their materials to reference for pattern and color. We can start with pom color selection, then develop rendered pattern concepts and from that, produce a sample in the selected color and texture for approval. The process is simple, and our team is very experienced in working with all aircraft platforms and understand their unique specification requirements for design.
JCFM: Your website is full of wonderful designs, but I know that many designers, myself included, often want to create their own custom designs. For VVIP projects, can you tell us generally what percentage of designers opt for "fully custom" vs. "SG Stock Patterns and what advantages might exist for either?
AA: I would say that currently around 10% of designs are brand new fully custom patterns. For an aircraft owner who wants a totally unique design made especially for them, we can work through the new design development process with the designer. We understand that demands on a designer’s time have increased, and we want to help them get to a successful solution. So, we develop new collections with the intent of providing beautiful and relevant designs to serve as a great starting point, where a change of color is all that’s needed, or it may be perfect as shown. Either way, we are well equipped to service a designer’s needs depending on the time they have to work within.
Precision handwork...
...one carpet at a time.
JCFM: I know that most designers are focused on the aesthetic aspects of a custom carpet - but I also know there are many "practical" concerns as well. Can you give us an idea of some of the practical aspects that you often explain to your customers that may govern or affect their design decisions? Can you please explain the difference and what unique effect one might have over the other in terms of look and feel?
AA: Understanding how the aircraft will be used is extremely important to providing the best product solution. If the aircraft has heavy use, we recommend a primarily loop construction in a blend of colors that will hide dirt and soiling. If the aircraft is used less frequently, owned by an individual or family, a designer might want to consider using a combination of softer fibers in cut pile, like silk, or wool cashmere that are plush and soft to walk on. We can also be somewhere in the middle, by using silk or other fibers as accents in the pattern.
JCFM: As far back as I can remember, Scott Group has always seemed to take much of its inspiration from "nature". Is this something that is customer driven or more something born out of your own company culture? Also can you tell us if 'nature' themes are often selected for aviation projects - or does it tend to be more abstract themes?
AA: I believe it’s both. With an increased focus on Sustainability, biomorphic forms in design and architecture are becoming more prevalent. Nature is an amazing place to draw inspiration from for both form and function. We often look to nature, fashion, and interior design for pattern inspiration. Our organic patterns are oftentimes non-repeating and “flow throughout the cabin. The pattern can be designed specific to the aircraft layout and lead the eye throughout the cabin creating a visually interesting and harmonious effect. Organic patterns are also more “forgiving” in the installation process as well.
JCFM: Hand sheared or carved carpets have always held a fascination for me. They are amazingly evocative to the eye and immediately impressive - however it seems to me that in recent years, it is less common. Is this just my own misconception or is there a trend away from such sculptural carpets?
AA: Carved and sculpted carpets are amazing not only in the 3-dimensional effect it creates with the pattern, but also the skill it takes from the craftsperson to execute. We have seen the trend of carving change over the years. In the past carving was used in Traditional patterns to delineate and accentuate pattern elements or to create separation of a border for an aisle. More recently, carving has been to create modern designs where the actual pattern is created by carving the pattern in 3 dimensions. It takes a high level of skill and experience from the craftsperson to execute a carved pattern.
JCFM: I know that one of the most exciting parts of the process for most designers is working with the 'color tufts' to find the perfect palette to match surrounding materials etc. I would assume this is a critical part of the process immediately prior to producing a strike-off. I realize that designers generally know just what they're looking for - but how often do they ask for your help and guidance? That is to say, how often is your vast experience in working with yarns, colors, dyes etc, called upon as you're working with a designer?
AA: We encourage communication between our clients and design team. We find the best results come when we can help guide the yarn color selection process. There are multiple strands of yarn used to create a blend of color. Our team uses their expertise in how color hues and values interact with one another in the construction of a 3-dimensional design. We want to make sure that we are providing the best results and will reach out to the designer if we think we what they are looking for can be better achieved by making slight adjustments to the color. Most designers that we work with are open and appreciative of that level of communication with our SGS Design team. We also understand the importance of color quality and ensuring that the carpet matches the materials and coordinates with the interior.
The US's first Air Force 1 - a Boeing 707 (VC-137B), utilized by Eisenhower, Kennedy, Johnson & Nixon
ORBIT BBJ - delivered fall 2001 / RRAD Design
And low and behold . . . there were plenty of takers!
When you open the door to the Lou Hansell Bespoke studio, the possibilities begin. Our artisans and designers have selected a palette of exquisite materials, with 51 shades of ltalian leathers, five metal and inner trim pairings, and personalization options. Driven by their boundless creativity, they combine their talents and craftsmanship to create pieces you’ll cherish forever.
louhansell.com
Does your company have something our readers need to know about?
Bentley Bacalar
%20copy.png)
JCF Magazine celebrates the Global 7000 & 8000 this month, remarkable achievements by any measurement. Watch the video and note that on top of it all, you can breathe easier with Bombardier's PÅ©r Air and its advanced HEPA filter technology, arrive rested and refreshed with the Soleil circadian lighting system, experience the comfort of the industry’s lowest cabin altitude, and enjoy reduced lower back pressure with the Nuage seat and zero-gravity position.
