M. Y. L A D Y C H R I S T I N E

Transcription

1 M. Y. L A D Y C H R I S T I N E I N T E R I O R S B Y R O D N E Y B L A C K D E S I G N S T U D I O S

2 2

3

4 C O N T E N T S Introduction 3 Main Hall 3 Stair 4 Salon 7 Dining Room 11 Bar 15 Guest Staterooms 17 Cinema 17 Owners Stateroom 18 Owners Bathroom 21 His Study 23 Her Study 25 Observation Lounge 27 Key West Room 29 Waterfall Transom 31 Lettering 32 A Work of Art 32 Acknowledgements 33 Cover photograph courtesy of Boat International Photographs courtesy of are indicated Other photographs by Rodney Black Design Studios R O D N E Y B L A C K D E S I G N S T U D I O S A R C H I T E C T S, I N T E R I O R & L A N D S C A P E D E S I G N E R S G U N H I L L H O U S E I P S W I C H R O A D D E D H A M C O L C H E S T E R C O 7 6 H R E - M A I L a r c h i t e c t u r r o d n e y b l a c k d e s i g n s t u d i o s. c o. u k T E L E P H O N E ( 0 ) F A X ( 0 )

5 I N T R O D U C T I O N Well into the construction of the yacht, we had the privilege to be appointed to complete the design of the interiors. The timescale was extremely tight release of information for the remaining rooms was already slipping behind schedule. We were provided with a set of box drawings by Royal van Lent which gave the limits of the available space. Even at the first meeting it was clear that there were a considerable number of concerns about parts of the design and a series of design meetings was held with the Owners and Royal van Lent. Radical changes to the existing layouts were made to enhance the spaces, both in plan and section, to improve circulation, to create more deck space, to make more of the available internal spaces especially in the main rooms and to provide better forward views from the private sitting room. Royal van Lent adopted these ideas and applied themselves to the changes, which included adaptation of completed superstructure, with remarkable energy, a mark of their exceptional professionalism. Design meetings continued in the Netherlands at approximately two week intervals and during the course of our work on the Lady Christine, we produced hundreds of drawings and sketches, many of which were full size for the creation of the interiors, including the cabinet work, panelling, inlays, cornices, skirtings, columns and pilasters, the finishes, ceilings, carpets, light fittings, individual pieces of furniture, glass pilasters and so forth. The glass figurines were sculpted for casting by the Architect. Much of the free-standing furniture was made for the boat to our designs and specification together with special glass items and light fittings. Full size shop drawings were developed with the manufacturers, prototypes inspected and refined and site visits made during construction. M A I N H A L L The Main Hall is the formal entrance to the boat with its external door on the starboard side. Immediately in front of this door on entering is the curved display cabinet with the model of De Zeven Provincien, a Dutch war ship presented to the Owner by Dick van Lent, CEO of Royal van Lent, at the handover ceremony. 3

6 The cabinet, a triumph of cabinetry work, has rope columns and the key pattern architrave with inlaid woods and moulded bronze shields. The floor is a pattern of black and white marble based on Michelangelo s Piazza del Campidoglio, a design originally proposed by Jean-Guy Verges, as was the idea for the balustrade. S T A I R The stair hall is a circular space supported on seven equally spaced columns. In architectural terms, it is a heptastile rotunda! The bands and marble segments on the column shafts follow a mathematical sequence based on the diminution of classical columns called entasis. 4

7 Extraordinary potential for spatial excitement existed with this space but the main pitfall was the very thick inter-deck depth between the ceiling of the Main Deck and the floors of the Owners split level deck. The circular drum through which the stair passes, could have been very oppressive. We adopted a treatment of alternating materials which creates interest and lightness using the drum as an expressive curved surface. The staircase is a wonder of construction with the stair strings winding their way up and onto the drum of the stairwell, then up through the different levels until they reach the ceiling boss under the sun deck. All of this joinery is in matched grain veneer. The carpets were designed especially for all of the spaces but the remarkable carved edge beads on the stair and landing carpets astounds the imagination as it follows the complete stair geometry all in one piece. 5

8 Between four of the columns on the main deck there are three magnificent marquetry panels of iconic buildings with a fourth panel depicting modes of transport at the Owner s Deck level. 6

9 S A L O N The Salon was designed first and established the architectural order for much of the rest of the boat the use of very pale ceiling finishes to maintain the sense of height, the bead architrave, the key pattern frieze and the beaky cornice. The fluted glass columns, part of the architectural rationale for the boat, appear only in this highly important room, the neighbouring Bar and Dining Room. Cherry panels with maple inlay form the background with the fluted glass columns backed onto antiqued bronze mirrors to give depth and infinite reflections. The glass columns are paired to provide baroque boldness without losing the sense of elegance and between them there is a fullheight niche each containing a statuette of a nymph cast in glass. The columns also support the petals design on the ceiling. 7

10 After much discussion with Royal van Lent and de Voogt Navalarchitects, we managed to achieve greater head height and a very large, oval-shaped recessed ceiling. A Vitruvian scroll made from inlays of ebony and maple stretches seamlessly around the massive perimeter. The curved sofa tables, sofas and coffee table fit exactly within the oval shape of the ceiling which is repeated in the design of the carpet derived from the margin design on the main doors. The curtains and swags are made from a glorious Liberty fabric. The key to success in this room was to achieve a sense of intimacy without losing the drama of the large space. The layout is therefore bold and, in contrast, the detailing very fine. The curved sofas are positioned at the ideal conversation distance allowing generous space around for circulation, appreciation of items on display or simply for casual conversation. 8

11 The doors, bookcases and cupboards have the unique motif developed for the yacht which is composed of hundreds of marquetry parts resembling a pyrotechnic display streaming in parabolic shapes from a geometric base. Opposing grain direction in the inlays is used to achieve variation in the way the light is reflected off the patterns The book shelves were designed to house some of the Owner s book collection including many large leather-bound photograph albums and the glass shelves are edged with fiddles using the Vitruvian scroll motif seen in the ceiling frieze. The sofas, unique pair of sofa tables with mirror polished stainless steel scrolled harp legs, coffee table, side tables and petrified wood entrance table were all made especially for the room. 9

12 Two large paintings were commissioned for this room based on paintings by Stefan Norblin, the originals of which are in the Umaid Bhawan, Jodhpur where they were admired by the Owners. These sit above exquisitely proportioned builtin wall cabinets within their own arched niches. 10

13 D I N I N G R O O M The very large external doors in the Dining Room and Bar open fully onto an extending side deck. The curtains and swags are a bold pattern of circles in delicate shades of fawn and gold. The dining table with a bravura centre of ebony inlay and chairs with marquetry veneered backs were designed especially for this room. 11

14 The Dining Room features an exquisite pair of sideboards with fine inlays of amboyna, macassar ebony and maple with antiqued wall mirrors set in a key pattern architrave and frieze of inlaid woods with a tall niche for statues in a quarter rotunda engaged onto the wall. The sideboards soften the corners of the room and mould the space for the table and chairs. 12

15 The mirrors flanking the niches give the niche drums the appearance of a full rotunda when viewed from certain angles and this gives the room the effect of greater space. The architectural regime follows on from the Salon but this time with single glass columns, a different ceiling treatment and the use of fabric panels to back the owners paintings. The key pattern architrave is embellished with quartered mother-ofpearl on the architrave either side of the huge engraved glass doors separating the bar from the Dining Room. The same key pattern design is used as a border in the sculpted carpet and this is embellished at the corners with a geometric flourish. 13

16 The engraved design on the sliding doors is a free-form version of the chair backs and door motif with interlacing effects to give a sense of depth. Above the dining table, the special alabaster light fitting, also seen in the bar and main salon ceilings, features antiqued mirror glass surrounds and lacquered silver bands. Air extraction is concealed within the recessed ceiling with vents for clean air positioned within the ebony squares of the key pattern frieze in the cornice. 14

17 B A R The new piano case of the refurbished C. Bechstein mini grand piano was inlaid in a complementary pattern especially for the Bar. 15

18 The bar itself features a series of spectacular engraved glass panels illuminated by an LED strip set on the top edge. The images for these came from the owner and a professional photographer companion who took the photos while on safari. A stylised antelope design has been used as a theme to separate these images; it is repeated on the bar wall cabinet doors and also, to great effect, in the Owner s Bathroom. The engraved glass coffee table has polished stainless steel legs and sits on an inlaid stepped hexagonal pyramid. 16

19 G U E S T S T A T E R O O M S The Guest Stateroom corridor is a simplified form of the design scheme for the rest of the boat. The alabaster light fitting and carpet were designed especially for the space. C I N E M A The artwork for the 3.6 metre long painting of the film stars was produced at full size for copying by the artist, as were the Norblin copies in the main Salon and Owners Stateroom. 17

20 O W N E R S S T A T E R O O M In the Owners Stateroom, the aim was to achieve a light, airy and spacious room with all of the finishes combining to achieve a sense of civilised calm. The shallow arches and piers in this room describe an exact square in plan and they are inlaid with a delicate maple inlay guilloche pattern. A little device was used for the design of the ceiling where the inner octagon is supported on a facetted ceiling, the corner facets reducing to a point. This gives the ceiling a floating appearance. The circular dome within the octagon is achieved by beads which convert from one shape to the other in layers. The bed head has a fan of silk matching the aft wall panels. The carpet has an octagon of identical size to the dome and pattern taken from the coffee table in colours to match the curtains. The curtains and swags are a watery blend of pale turquoise and gold. This fabric perfectly complements the sheer curtains, bedspread and upholstery. Two intricate sideboard cabinets flank a curved, sleigh sofa. 18

21 Entrance to the suite of rooms is by the ante room with a raised, top-lit alabaster ceiling. The octagon shape is repeated in the carved and subtly coloured carpet design. The sofa has with delicate inlay and ebony bead volutes and gilt leaf fans sprouting from the volute interstices. 19

22 The aft wall is curved to provide a feeling of infinite space through the arch; its centre panel has a third Stefan Norblin copy and the two side panels are of embroidered silk. A glass coffee table with mirror polished stainless steel legs of harmonious but demanding geometry is fixed down in front of the sofa. 20

23 O W N E R S B A T H R O O M The walls are finished with book-matched cream onyx and the vanity unit has a yellow onyx inlaid top with inlaid cherry cabinet doors and curved panels. A generously sized dressing room is reached from the Bathroom. It has cherry joinery and an ottoman which serves as a laundry box. 21

24 The glass wall panels have a silver mirrored backing that gives a glow to the glass, engraved with the formalised antelope motif seen in the Bar, a large lobed petal design, a contrasting geometric design between capped by a chevron frieze in contrasting marbles. The lobed design appears on the floor in different coloured onyx and also on the ceiling. The shower is lined in the same book-matched onyx with a seat surrounded by a trefoil arch. 22

25 H I S S T U D Y Here the theme is refined masculinity using the Owner s favourite flame mahogany in panels within triple ebony beads. The curved corners of the wall panelling and cabinet work soften the whole atmosphere of the room. Macassar pilasters and rope columns are the basis of the architectural order and Vitruvian scroll fiddles edge the glass shelves in the bookcases. 23

26 The owner s catamaran desk is made of rosewood with brass inlays and a leather trim to match the room s leather dado. The complex curvature on the legs, curved in plan and tapered in section, confirm this desk as a cabinet maker s tour de force. Another delightful piece is the small round side table also in rosewood with polished brass legs and inlay. The curtains are made from a striking geometric fabric and complement the bold upholstery on the chairs. 24

27 H E R S T U D Y Flamboyant femininity with mother of pearl wall panels and the same architecture dressed in completely different clothes this time with ebony inlay in a delicate double chevron and gilt shell capitals for the pilasters and flanking fans in amboyna burr. 25

28 The astonishing glass cantilever desk is supported on a stainless steel structure veneered in amboyna with matching gilt column shell capitals. The glass desk and the side table, as with His Study, were designed for the room. The curtains and swags are a fabulous show of embroidered silk fabric also lined in silk. 26

29 O B S E R V A T I O N L O U N G E Designs found in other areas are also used here including the motif on the door, bookcases and sideboards and the rope columns seen in the Main Deck Hall and His Study. The ceiling has a circular maple recess with an alabaster light fitting. The remarkably realistic electric fireplace has a marble surround and is bordered by bookshelves. The coffee table, scroll-leg side table, superb single-legged dining table and alabaster light were made especially for the room. 27

30 The Observation Lounge has over 180-degrees of windows giving panoramic forward and side views. The centre of the scroll-leg coffee table has an interlaced antelope design in antiqued mirror glass. 28

31 K E Y W E S T R O O M The Key West room has panoramic views and opens to the sun deck and the helicopter deck. The idea was for a relaxed and yet elegant atmosphere and to provide an informal dining area with its own bar and servery. Architecturally, the room is based on a circle with six octagonal columns and six alternating pilasters. This recalls the columns arranged in a circle in the entrance hall. The circle gives an overriding rationale to the space. A decorative highlight of the room is the recessed ceiling lined in faux ostrich to a stylised cascade design. The twin bands of antiqued mirror on the ceiling create a sense of great height whereas actual headroom is quite low. 29

32 The treatment of this space changes gear a little with teak being used for the joinery following from the teak root table. 30

33 W A T E R F A L L T R A N S O M The green, etched glass waterfall features swallow shapes and is visible when the aft swim platform is lowered. The waterfall can be illuminated and has a very distinctive appearance, especially for tenders returning to the yacht. Behind the waterfall is the infinity pool with teak cladding, stone top and coffered ceiling. 31

34 L E T T E R I N G The lettering for the Lady Christine was designed especially for the boat and appears on the waterfall, the superstructure sides and throughout the yacht. A W O R K O F A R T The interiors presented here for the Lady Christine are a radical departure from other super yacht interiors. They are modern but rooted in the classical system of the orders and proportion, fresh and light-hearted but based on timeless principles of design, taking design forward with style but bringing the elegance and subtlety of previous periods. The build quality achieved by Royal van Lent and the specialists involved is exceptional. The involvement and passion for this project by the Owners was the fundamental reason for the project s success. The interiors of the Lady Christine have been described as a masterpiece, we think of them as works of art in their own right. 32

35 C O M P A N I E S I N V O L V E D I N T H E R E A L I S A T I O N : S H I P B U I L D E R S Royal van Lent, De Voogt Navalarchitects Builders and interior fit out Naval Architects A R T I S A N S Bill Cleyndert and Company, Norfolk: Michael Schryver Antiques Ltd., Surrey: Aryma Limited, Wales: Andrew Moor Associates, London: Phil Giddens, Lincolnshire: Barrington Bramley, Northamptonshire: Tai Ping Carpets, London: Dining table, sofas, sofa tables, coffee tables, side tables, bed head, entrance table, His desk, Her desk, light fittings Dining Room chairs Marquetry panels, table and chair marquetry Glass columns, bar front, table tops and casting of nymph figurines Curtains, items of upholstery and bedspreads Stefan Norblin copies in oil Carpets S U P P L I E R S Loher Società Cooperativa Artieri Alabastro, Italy: Decored, Gloucestershire: Galerie JP Art, Cannes: Period Art, London: Silk panels Alabaster parts of light fittings in Bar, Dining Room, Salon, Owners Stateroom, Observation Lounge, Guest Corridor Mother of Pearl wall panels and key pattern inlay Cinema painting Bar paintings Tango and Lempicka interpretation 1066 Pianos, Cambridgeshire: Bar piano 33