lady christine article - rodney black design studios...the manufacturers, prototypes inspected and...
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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
Feadship
2
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 Feadship 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 e @ 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 + 4 4 ( 0 ) 1 2 0 6 3 2 2 8 0 0 F A X + 4 4 ( 0 ) 1 2 0 6 3 2 2 0 8 8
www. rodneyblackdes igns tud ios .co .uk
C O N T E N T SC O N T E N T SC O N T E N T SC O N T E N T S
3
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.
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.
I N T R O D U C T I O NI N T R O D U C T I O NI N T R O D U C T I O NI N T R O D U C T I O N
M A I N H A L LM A I N H A L LM A I N H A L LM A I N H A L L
4
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.
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.
S T A I RS T A I RS T A I RS T A I R
5
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.
Feadship
6
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.
7
Feadship
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 full-
height niche each
containing a statuette
of a nymph cast in
glass. The columns
also support the petals
design on the ceiling.
S A L O NS A L O NS A L O NS A L O N
8
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.
9
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.
10
Feadship
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 built-
in wall cabinets within their own
arched niches. Feadship
11
Feadship
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.
D I N I N G R O O M D I N I N G R O O M D I N I N G R O O M D I N I N G R O O M
12
Feadship
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.
13
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-of-
pearl 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.
Feadship Feadship
14
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.
Feadship
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.
15
The new piano case of the refurbished C. Bechstein mini grand piano was inlaid in a
complementary pattern especially for the Bar.
B A RB A RB A RB A R
16
Feadship
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.
17
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.
Feadship
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.
G U E S T S T A T E R O O M SG U E S T S T A T E R O O M SG U E S T S T A T E R O O M SG U E S T S T A T E R O O M S
C I N E M AC I N E M AC I N E M AC I N E M A
18
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.
Feadship
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.
O W N E R S S T A T E R O O MO W N E R S S T A T E R O O MO W N E R S S T A T E R O O MO W N E R S S T A T E R O O M
19
Feadship
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.
20
Feadship
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.
21
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. Feadship
O W N E R S B A T H R O O MO W N E R S B A T H R O O MO W N E R S B A T H R O O MO W N E R S B A T H R O O M
22
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.
Feadship
The shower is lined in the same book-matched
onyx with a seat surrounded by a trefoil arch. Feadship
23
Here the theme is refined masculinity using the Owner’s favourite flame mahogany in panels
within triple ebony beads.
Feadship
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.
H I S S T U D YH I S S T U D YH I S S T U D YH I S S T U D Y
24
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.
25
Feadship
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.
Feadship
H E R S T U D YH E R S T U D YH E R S T U D YH E R S T U D Y
26
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.
27
Feadship
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.
O B S E R V A T I O N L O U N G EO B S E R V A T I O N L O U N G EO B S E R V A T I O N L O U N G EO B S E R V A T I O N L O U N G E
28
Feadship
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.
29
Feadship
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.
Feadship
K E Y WK E Y WK E Y WK E Y W E S T R O O ME S T R O O ME S T R O O ME S T R O O M
30
The treatment of this space changes gear a little with teak being used for the joinery following
from the teak root table.
31
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.
Feadship
Behind the waterfall is the infinity pool with teak cladding, stone top and coffered ceiling.
W A T E R F A L L T R A N S O MW A T E R F A L L T R A N S O MW A T E R F A L L T R A N S O MW A T E R F A L L T R A N S O M
32
The lettering for the Lady Christine was designed especially for the boat and appears on the
waterfall, the superstructure sides and throughout the yacht.
Feadship
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. Feadship
The interiors of the Lady Christine have been described as a masterpiece, we think of them as
works of art in their own right.
L E T T E R I N GL E T T E R I N GL E T T E R I N GL E T T E R I N G
A W O R K O F A R TA W O R K O F A R TA W O R K O F A R TA W O R K O F A R T
33
S H I P B U I L D E R SS H I P B U I L D E R SS H I P B U I L D E R SS H I P B U I L D E R S
Royal van Lent, Feadship Builders and interior fit out
De Voogt Navalarchitects Naval Architects
A R T I S A N SA R T I S A N SA R T I S A N SA R T I S A N S Bill Cleyndert and Company, Norfolk: Dining table, sofas, sofa tables, coffee tables, side tables,
bed head, entrance table, His desk, Her desk, light
fittings
Michael Schryver Antiques Ltd., Surrey: Dining Room chairs
Aryma Limited, Wales: Marquetry panels, table and chair marquetry
Andrew Moor Associates, London: Glass columns, bar front, table tops and casting of
nymph figurines
Phil Giddens, Lincolnshire: Curtains, items of upholstery and bedspreads
Barrington Bramley, Northamptonshire: Stefan Norblin copies in oil
Tai Ping Carpets, London: Carpets
S U P P L I E R SS U P P L I E R SS U P P L I E R SS U P P L I E R S Loher Silk panels
Società Cooperativa Artieri Alabastro, Italy: Alabaster parts of light fittings in Bar, Dining Room, Salon,
Owners Stateroom, Observation Lounge, Guest Corridor
Decored, Gloucestershire: Mother of Pearl wall panels and key pattern inlay
Galerie JP Art, Cannes: Cinema painting
Period Art, London: Bar paintings ‘Tango’ and ‘Lempicka interpretation’
1066 Pianos, Cambridgeshire: Bar piano
Feadship
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 :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 :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 :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 :