the aft end main deck and have folding panels and sliding walls,”
says Langton. “It never even entered my head to put it inside,
because it’s so big.”
Not only would putting the court at the back have made for a
profile that Langton likens to a pick-up truck, but Silverton notes
that the court would not have been playable at main deck level.
“You’re way above the roll centre, so it’s moving sideways –
humans can’t cope with sideways movement of the ground,” says
Silverton. “So we looked at putting it as low down as possible.”
Achieving such a large area in that position was an engineering
feat but the results are spectacular. Its dimensions short-circuit
spatial understanding – it seems impossible that this towering
6.65 metre tall space could be accommodated inAviva’s profile.
But it is, and it functions beautifully. “We’re running along at 19
knots, white horses everywhere, and they’re downstairs playing
padel having no idea that there’s any sea at all,” says Silverton.
This sort of intelligent ambition has transformed every space
on board into something special. “The owner has been in many
businesses – hospitality, hotels – so he really understands how
spaces work,” says Silverton. Apart from
strategically placed pantries and
concealed crew entrances, there are three
massive dumb waiters, a lower deck
entrance for loading supplies, a dedicated
crew galley and much more. The final GA
was version 57.
On the more glamorous side of this
equation, the upper saloon is a highly
functional family room that’s comfortable,
bright and airy. The sofas are extra
squashy, and there’s a games table as well
as a sculptural Bogányi piano. The head
height is 2.6 metres and nine metres of
openable full-height windows run along
each side of the room – with balconies.
Rather than the usual glass, doors to the
aft deck are leather clad, making the room
feel more private. In fine weather, with those doors open, glass panels slide
out to surround the aft deck dining area, creating one long, protected inside/
outside space. Designing such a huge area without pillars for support was
a challenge and the corners are, says Hering, packed with extra structure.
“Also, in the ceiling, all the girders are very thick because the unsupported
length is just enormous.”
In contrast to this space, the main saloon below is a glamorous
introduction to the boat, up the sweeping staircase from the swim platform
and inside to take in starry pieces from the owner’s art collection from a
round of sunken seating. Adding a dash of intrigue there’s a secret cinema
forward of the space, behind a hidden door.
The master suite is in the nose of the main deck rather than higher up,
for extra stability. It stretches from a full-beam cabin to a massive bathroom
centred with a monolithic Corian bathtub (there’s a spa just aft of the cabin
for even more serious pampering), to a wardrobe-cum-dressing room of
spectacular scale and glamour, inspired by Chanel boutiques.
But while some spaces are grand in scale, others are decidedly intimate.
Rather than a dining saloon, there are two art-filled “bistros” on board for
cosy meals, and many other small dining areas elsewhere. The owner’s
bridge deck oice is also modestly proportioned, with a conference room
next door for larger meetings.
In terms of interior style, the owner’s brief was for something
revolutionary. “He didn’t want anything to be symmetrical, it had to be
curvy or organic,” says Langton. “He wanted it to be very diferent. No
wood, nothing traditional.”
From the furniture and fittings to walls and overheads, there is barely a
straight line on this boat. That was no mean feat for Abeking & Rasmussen’s
outfitter Rodiek, which, as well as building most of the yacht’s bespoke
furniture in organic forms, produced
undulating wall panels from high density
CNC-milled foam. “Five or ten years ago
this was only used to do models or moulds
for the car industry. It is very expensive,”
says Langton.
It is, however, perfect for creating
curves. “For this boat we decided to use a
lot of new materials, even for the base
materials, because of the big curved ceiling
spaces,” says Hilmar Westermeyer, COO
of Rodiek, who had to buy a new CNC
milling machine for the project. Rodiek
works only for Abeking & Rasmussen (and
vice versa) in a symbiotic relationship.
In terms of the interior styling, the
ethos was love it or lose it – at least visually.
“This door disappears when it is closedhttp://www.boatinternational.com | April 2018“The whole interior
is a mixture of leather
and lacquer, it’s really
almost tailored”
PHOTOGRAPHY: GUILLAUME PLISSON; GLANCY FAWCETT