Belmond Andean Explorer
Kelly Hoppen, Patricia Urquiola and Tom Wright join The Celebrity Revolution
Rich artisanal detailing takes centrestage aboard Peruâ€™s first luxury sleeper train
Virgin Group ventures into the cruise sector with a new fleet of Lady Ships
ISS UE 1
It’s about the journey, not the destination. It’s something of a cliche that has been around for centuries, but the old adage of life being about the journey rather than the destination has taken on a more literal meaning in the world of hospitality in recent years. A profound shift in the way we work, rest and play has motivated brands to broaden their offer, leading to fitness clubs opening hotels, restaurants adding rooms and lobbies doubling as office space. The lines between the once-disparate sectors of hotel, F&B, business and leisure are blurring, and hospitality groups are becoming fully-fledged lifestyle brands providing all the necessary services for everyday life. Travel is increasingly adding to that mix and Virgin has undoubtedly been a trailblazer. Devotees to the brand can holiday with Virgin Vacations, fly with Virgin Atlantic, sleep at Virgin Hotels, and come 2020, sail the seas on a Virgin Voyages cruise. And they’re not the only ones expanding the brand experience. The Ritz-Carlton, a subsidiary of Marriott International, has announced its entry into the cruise market with The Ritz-Carlton Yacht Collection, a move that will replicate the brand’s design and service values at sea, and likely bolster development of its hotels in the ship’s ports of call. More and more, hotel groups are strengthening their brands through investment in nontraditional hospitality models. Minor Hotels has launched a series of luxury river cruises along the Mekong; Four Seasons has the ability to transport guests between its hotels via a custom-designed private jet; and Anantara has partnered with MJets to seamlessly combine hotel stays with premium transportation. And the two sectors are converging in other ways. Transport operators, particularly cruise lines, are turning to the hotel design community to bring a new aesthetic to their vessels. Muza Lab, the design team behind the award-winning Alpina hotel in Gstaad, was asked by Belmond to create a scheme for its first luxury sleeper train in South America; Philippe Starck, the creative force behind the Mama Shelter hotels, has been tasked with designing the interiors for an orbiting space station hotel; specialist hospitality design firm Hirsch Bedner Associates is working with Celebrity Cruises on a new vision for its staterooms; and renowned hotel and restaurant designer Adam Tihany has brought his expertise to Seabourn’s new fleet. These collaborations have resulted in ever more stylish models that are more in line with a boutique hotel than a mode of transport, and are just a few of the projects featured in the following pages. Welcome to Starboard, the new magazine from the publisher of Sleeper (Global Hotel Design) and Supper (Global Hotel F&B). Where Sleeper focuses on static hotels, Starboard concentrates primarily on the design and development of cruise ships, but also other mobile forms of hospitality such as river boats, sleeper trains, aeroplanes and the forthcoming advent of space shuttles. This is the first issue of what we hope will become a key resource for those in the business of style in travel. I hope you enjoy the journey.
Catherine Martin | Managing Editor
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COVER STORY: Celebrity Cruises unveils design details of Edge, the first in a series of pioneering ultramodern luxury vessels
Contents Issue 1 013 MAIDEN VOYAGE
092 CHANGING LANES
Previewing mobile forms of hospitality ahead of their maiden voyage
FEATURE With cruise operators increasingly turning to hotel designers to create their vessels, Starboard asks those behind a new era of ships how land-based hospitality translates to the high-seas
014 022 026 034 036 038 040 042 044 046 048 050
Celebrity Edge Celebrity Cruises The Ritz-Carlton Yacht Collection Scarlet Lady Virgin Voyages Costa Smeralda Carnival Corporation Seven Seas Splendor Regent Seven Seas Cruises OceaniaNext Oceania Cruises MS Roald Amundsen Hurtigruten Le Bellot Ponant Greg Mortimer Aurora Expeditions Caledonian Sleeper Serco Axiom Space Station Axiom Space Aurora Station Orion Span
053 FORECAST News and insight into the hospitality transport sector 054 058
The Shipping Forecast Industry News
103 EVENTS 103 104 106
Global Events Diary Seatrade Cruise Med Cruise Ship Interiors Expo
109 CARGO Showcasing the products and services bringing mobile forms of hospitalityÂ to life 110 Material World 114 Cargo
122 FINAL CALL Transport design in all its forms
067 VOYAGE Reviewing the new vessels taking to the seas, skies and tracks 068
Seabourn Encore Luxury cruise operator Seabourn collaborates with Adam Tihany for the design of its new generation of ships
Viking Orion Viking Cruises continues to venture into uncharted territory with the latest addition to its new fleet of ocean liners
Belmond Andean Explorer Muza Lab combines rich artisanal detailing with a respect for the Peruvian landscape to design South Americaâ€™s first luxury sleeper train
Symphony of the Seas
Crew EDITORIAL Editor-in-Chief Managing Editor Assistant Editor Editorial Assistant
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Starboard Issue 01 published September 2018 Subscription records are maintained at Mondiale Publishing Ltd Mailed by Spatial Global Printed by Buxton Press
8/24/18 4:51 PM
HOSPITALIT Y by JO N AT HA N CHA R L E S
Royal Caribbean Oasis of the Seas kalisher.com
8/28/18 3:37 PM
MAIDEN VOYAGE Previewing mobile forms of hospitality ahead of their maiden voyage
014 Celebrity Edge
040 MS Roald Amundsen
022 The Ritz-Carlton Yacht Collection
042 Le Bellot
The Ritz-Carlton Hotel Company
026 Scarlet Lady
044 Greg Mortimer
034 Costa Smeralda
046 Caledonian Sleeper
036 Seven Seas Splendor
048 Axiom Space Station
Regent Seven Seas Cruises
050 Aurora Station
Inaugural Route Western Caribbean Maiden Voyage December 2018
Celebrity Edge CELEBRITY CRUISES
Celebrity Cruises proves itâ€™s ahead of the game with the launch of Edge, the first in a series of pioneering ultra-modern luxury vessels. Words Lauren Ho
Owner Royal Caribbean Cruises Operator Celebrity Cruises Flag State Malta Shipyard STX France Passenger Capacity 2,918
ky diving simulators, London Eye-inspired rotating viewing pods, bumper cars, biking above the ocean and robotic bartenders are just some of the more outrageous offerings topping the list of the world’s largest cruise companies. But for Lisa Lutoff-Perlo, President and CEO of Miami-based Celebrity Cruises, a subtler dimension involves paying attention to the needs of their already existing guests. “Our returning guests are extremely loyal to our brand,” she says with conviction. “They expect us to push the boundaries – especially when it comes to our five pillars of destination, design, accommodations, culinary and service.” These five pillars are what formed the basis of the company’s newest ship, Celebrity Edge, the first in a series of ultra modern luxury vessels, set for its maiden voyage at the end of this year. “All we did was enhance, evolve and innovate our pillars to make them even stronger than they are today,” continues Lutoff-Perlo. “The great thing about designing a new ship from scratch, is that you get the opportunity to rethink what your brand stands for.” And so, with a series of high profile reveal events, which began over a year ago, Celebrity Edge is slowly building momentum as a leader in the industry, unveiling of a number of game-changing concepts. These include innovative architectural feats, pioneering culinary offerings and, particularly noteworthy, a strong focus on design, tasking industry heavyweights such as Patricia Urquiola and Burj Al Arab architect Tom Wright – who are behind the public spaces – and Kelly Hoppen MBE, who was assigned to work her magic on the 1,467 staterooms. “We decided to go to world renowned designers to amplify our design pillar,” explains Lutoff-Perlo. “We were very purposeful about who we selected. What was appealing to us, was that neither Patricia nor Kelly had worked with cruise ships before – we
wanted to push our own boundaries and the only way you can do that is to bring new people in.” Hoppen, a prolific London-based interiors guru, author, and now also home product designer says: “As soon as I met Lisa Lutoff-Perlo, I knew this was going to be an iconic moment within both the travel and the design industries. From the moment the partnership began, our visions were aligned; everything we presented was welcomed with enthusiasm and passion.” In keeping with her trademark clean lines and neutral tones, Hoppen has successfully achieved the brief of ‘total luxury’, which she says was “a joy to be able to create something that has not been done before”. The result eschews the bold colours typically seen on cruise ships, revealing, instead, chic low-key oatmeal tones with an accent colour in each space. “I used only my trademark bands and runner details to bring in that boldness and contrast,” she explains. Meanwhile, cashmere bedding, handcrafted Italian mattresses, timberlook laminate and plush wool-rich carpets designed together with UK-based company Brintons add an extra layer of luxe. “I wanted to create a soft, calming aesthetic that doesn’t distract from the amazing views.” Indeed, these views are certainly enhanced, thanks to Hoppen’s Infinite Veranda design. Another industry first, the concept features bi-fold doors that can be opened completely, bringing 23% more space to the room, while the balcony features a window that rises to close off the space from the elements at the touch of a button. “Celebrity Cruises continues to be a leader in the industry because they listen to their guests,” says Hoppen. “The guests said they wanted a closer connection to the ocean and Edge provides just that.” Another innovative concept that also connects guests to the ocean is the Magic Carpet. A unique, movable tennis
Celebrity Edge eschews the bold colours typically seen on cruise ships, revealing, instead, chic low-key oatmeal tones with an accent colour in each space
Cabins 1,467 staterooms F&B 29 restaurants, bars and lounges Leisure 2 swimming pools, hot tubs, solarium, jogging track
court-sized deck, cantilevered off the side of the ship that, depending on its position, will serve as a hassle-free bridge that can connect directly to the tender boat (deck two); an open-air dining experience (deck five); an extension to the main pool area (deck 14); and on deck 16, a sky-high alternative restaurant with changing themed menus. Elsewhere, Hoppen’s soothing tones have been extended to the dreamy spa with its Sea Thermal Suite that comprises state-of-the-art spaces, from the usual hammam and steam room to a float room and crystalarium – a modern take on the Turkish bath. Meanwhile Tom Wright is behind the outwardfacing resort deck with its asymmetrical pool area, lush rooftop garden, multi-level jogging track and the solarium, an adults-only sanctuary with a three-dimensional art wall inspired by the ocean. Elsewhere, architect Scott Butler and designer Patricia Urquiola joined forces for Eden, a vast glasswalled three-storey space at the aft of the ship. Here, Eden Café will serve up breakfast and small lunch bites, while Eden Bar will provide a menu of artisanal cocktails using fresh ingredients from the space’s 20ft-tall Library of Plants. Other daytime activities include cocktail and cooking classes, while come nightfall, the space transforms into Eve at Eden, a dinner-and-theatre option where performance art and unique culinary experiences will be on offer. This is just a small part of the 29 restaurants, cafés, bars and lounges available to guests. “Everybody’s been asking
about the culinary experience on Edge,” says Lutoff-Perlo. “Of the five pillars that Celebrity stands for, culinary is at the pinnacle of those.” Indeed, the offerings do not disappoint. Along with the brand’s tried-and-tested favourites that currently run across the fleet – like Normandie, Tuscan, Cyprus and Cosmopolitan – are seven new concepts that, like the F&B across the whole line, have been assembled by Michelin-star chef Cornelius Gallagher. “With the advent of the Food Network, various cooking channels and blogs, people have become really educated about food,” says Gallagher. “We want to stay on top of the game.” Along with the 10 bars and lounges, which include old favourites like the Sunset Bar, expect restaurants such as Fine Cut, an upscale steakhouse; a dramatic raw bar laden with oysters, crab and lobsters; Le Grand Bistro, a French bistro bursting with classics from steak frites to gooey croquemonsieur; and last, but not least, Le Petit Chef. Here diners will be entertained by an animated digital table presentation of each course, which will be projected onto your plate, before being served the real deal. Celebrity Edge is certainly proving to be a game changer in the industry and as Lutoff-Perlo says: “What’s wonderful, is that the launch of Edge has not only transformed Celebrity Cruises, it has transformed the industry. And when you can accomplish that, with all that’s going on, that’s really very special indeed.”
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Inaugural Route Fort Lauderdale â€“ Bridgetown Maiden Voyage February 2020
The Ritz-Carlton Yacht Collection THE RITZ-CARLTON HOTEL COMPANY
The Ritz-Carlton reaches a key milestone in the development of its new fleet, as the hotel company prepares to enter the luxury cruise sector. Words Catherine Martin
Operator The Ritz-Carlton Yacht Collection Flag State Malta Shipyard Hijos de J. Barreras Interior Design Tillberg Design of Sweden Passenger Capacity 298
aving announced it will take to the seas for its maiden voyage in 2020, The Ritz-Carlton Yacht Collection has reached a key milestone in the development of its groundbreaking fleet. The official keel laying ceremony took place at the Hijos de J. Barreras shipyard in Vigo, Spain, marking the start of construction and bringing Marriott International’s entry into the luxury cruise sector a step closer. “We are delighted to commemorate this milestone as we embark on our journey to bring The Ritz-Carlton Yacht Collection to life,” comments Lisa Holladay, Global Brand Leader, The Ritz-Carlton Hotel Company. “The keel laying marks the realisation of a longstanding dream for The RitzCarlton brand as we bring our guest experience and service ethos to the seas through these highly unique luxury vessels and one-of-a-kind on-board amenities and experiences.” Created by The Ritz-Carlton and maritime expert Douglas Prothero with funds managed by Oaktree Capital Management, the new venture will provide a luxury hospitality service under a long-term operating agreement. “The keel laying is a significant moment in the shipbuilding process and signals that we are well on our way to redefining luxury at sea,” says Prothero. “The intimate size of our ships and compelling itineraries will give our guests the opportunity to explore unexpected destinations, all while enjoying the legendary Ritz-Carlton service.”
Designed with a yachting lifestyle in mind, the first of three bespoke yachts in The Ritz-Carlton Yacht Collection will call at a variety of destinations including the Mediterranean, Northern Europe, the Caribbean and Latin America, with voyages ranging from 7-10 nights. Its intimate size allows for the vessel to sail into coveted city harbours around the world, and the relaxed pace offers both daytime and overnight ports of call, giving guests more flexibility for their time on land. Speaking at Seatrade Cruise Global 2018, Prothero reiterated the importance of partnering with the hotel operator. “What differentiates us is The Ritz-Carlton brand,” he noted. “From a business perspective, I can tell you that the barrier to entry in the cruise market is very difficult to break through; without a brand, it’s virtually impossible. This is a co-managed venture and our teams have worked together on every single element from the design and guest experience, to the culinary programme.” The small capacity vessels will measure 624ft with a beam of 78ft, and feature 149 suites accommodating up to 298 passengers. Designed as a hybrid between a cruise ship and yacht, interiors are a collaboration between The RitzCarlton’s in-house team and Tillberg Design of Sweden. “The opportunity to design The Ritz-Carlton Yacht Collection has been extremely exciting as we have been able to start from a blank piece of paper and create a whole new brand from scratch,” says Fredrik Johansson, owner and Executive
Project Director of Tillberg Design of Sweden. “Our guiding principles for all aspects of the yacht’s design have been spacious privacy and personal comfort.” All suites feature a custom king-size bed, double vanity bathroom and private terrace, while the duplex loft suites offer a living and dining area on the upper level. Two owner’s suites, each with 158m2 of indoor and outdoor living space, come with the added luxury of a whirlpool on deck and magnificent ocean views. The yachts will feature a wide variety of culinary experiences including an Asian fusion restaurant with sushi bar, a seafood grill with al fresco seating, and an à la carte offer from Sven Elverfeld of Aqua – the three Michelin-starred restaurant at The Ritz-Carlton Wolfsburg, in Germany. Further facilities include a champagne bar, humidor, living room with espresso bar and top-deck observation lounge, as well as a terrace furnished with sun loungers perched at the water’s edge. There’s also a signature spa, gym, swimming pool and marina-style platform with access to watersports. Additionally, the yacht will offer one-of-a-kind curated destination journeys through collaborations with local chefs, musicians and artists, allowing guests to experience the locations in unique ways, both on board and ashore. The first cruising yacht will be named at ILTM in Cannes in December, before taking to the seas in 2020. A further two vessels are expected to be delivered in 2021.
Inaugural Route Miami â€“ Caribbean Maiden Voyage 2020
Scarlet Lady VIRGIN VOYAGES
Aiming to redefine how the world views sea travel, Virgin Group unveils design details of its new fleet of Lady Ships. Words Ben Thomas
Richard’s Rooftop is a private club between the bow and bridge created by Tom Dixon’s Design Research Studio, while The Athletic Club, an outdoor lounge featuring a striking red-and-white semi-circular lounger, is designed by Concrete
t has successfully conquered the worlds of train travel, aviation and hotels, and is even on course to master commercial space exploration in the near future. Now, Virgin Group – the multinational conglomerate founded by Sir Richard Branson in 1970 – has announced its entry into the cruise ship sector, with high hopes of replicating at sea what it has achieved in the air and on land. The venture – named Virgin Voyages – has been three years in the making, and currently has three ships on order, due for delivery in 2020, 2021 and 2022. Details on the vessels had previously been sparse, up until May of this year, when the group invited its collaborators to New York for a global design reveal. “At Virgin Voyages, we pride ourselves on being more than just another cruise line, which is why in everything that we do and every decision we make, we’re working to redefine how the world views sea travel,” explains CEO Tom McAlpin. “It’s why we named the company Virgin Voyages, because this as more than a cruise; it’s a journey. “It’s also why we designed our ships to be smaller than most, to provide a more personal and intimate experience for our sailors. And it’s why with each step we take, we’re working to change the way this vacation not only looks and feels, but most importantly, is experienced.” Tasked with bringing this experience to life is the Creative Collective, a handpicked team featuring Tom Dixon’s Design Research Studio, Amsterdam-based agency Concrete, and New York practice Roman & Williams. All are renowned in the fields of hospitality, residential and product design, but none had ever designed for the cruise ship industry before. With the majority of construction taking place at Fincantieri’s shipyard in Genoa, Italy, and subsequent sections being brought together from dry docks in Romania and Palermo, the development of the 110,000-tonne vessel –
named Scarlet Lady after one of the earliest planes to fly for Virgin Atlantic – has progressed rapidly since its steel-cutting ceremony in 2017. 48 of the cruise liner’s 108 blocks are now complete, while at its bow, steelwork has reached deck 16. So far, British superyacht designer RWD has been tasked with creating a streamlined funnel, Magpie Studio has conceptualised the livery, and Tinsley Robertson – the agency behind the motif for Virgin Galactic – was drafted in alongside illustrator Fay Dalton to create the Sailing Lady, a 5m-long mermaid graphic inspired by figureheads on historic vessels. Marine Architect Giacomo Mortola, London studio Softroom, and Work AC from New York were also named as collaborators, with further design reveals set to take place throughout the year as part of a #shiptease campaign. According to McAlpin, Virgin Voyages opted to use multiple interior designers in order to focus on the strengths of each firm and show diversity throughout the ship, using the principle of the Modern Romance of Sailing as the guiding star to a cohesive scheme. “As part of our design vision we purposely set out to find visionaries who were known for their forward-thinking designs, and, in addition, we sought designers who had never worked on ships in the past, so that they could bring a completely new perspective to Virgin Voyages,” he explains. “The distinct idea was to search for the most respected, experienced designers and let them apply their individual strength and innovative thinking to our ship.” At the design reveal in New York, the Creative Collective came together in public for the first time, offering insight into their respective schemes. Robin Standefer and Stephen Alesch, co-founders of Roman & Williams spoke via video, while Tom Dixon of Design Research Studio, and Lisa Hassanzadeh and Rob Wagemans of Concrete joined Dee Cooper, Senior Vice President of Product Design at Virgin
Owner Virgin Group Operator Virgin Voyages Shipyard Fincantieri Passenger Capacity 2,860
The Dock is a Hamptons-inspired outdoor lounge designed by Roman & Williams, who also masterminded signature nightclub The Manor
Voyages, on stage. “We have been inspired by the past but in an up-to-date and modern way,” Cooper explains. “We chose these three design firms because of work they had done that we loved. They are all great at clever design and creating spaces that we knew would resonate with sailors. “We also want to provide plenty of choice. If you think about a city such as New York, you can choose to go uptown and be refined and glamorous, or downtown to the West Village and be more relaxed; we set out to give our sailors that diversity across the ship.” Tom Dixon, who completed his first hotel project, Mondrian London in 2014, stresses of the appeal in Virgin’s decision to collaborate with several like-minded designers: “I like a new adventure, so the idea of working on sea for the first time appealed to me. It’s quite risky to do what Virgin is doing, but there’s a logic to the madness; if you’re going to encourage people from a new demographic to go on cruises, then why not use designers that have never been on a cruise and ask what would entice them?” Tasked with creating Mexican restaurant Pink Agave, Dixon took inspiration from retro futurism, combining the glamour of the 1920s with futuristic luxury in a bid to reignite the romance of cruising. The designer’s famed Void lighting illuminates a porthole entryway, and inside, electric blue metallic light fixtures cascade from the ceiling. “Influences were partly to do with the glamorous age of cruise liners,”
he explains. “There is this romance to cruising which has partially vanished and been replaced by synthetic glamour.” Dixon has also designed Richard’s Rooftop, a private club between the bow and bridge. Characterised by a futuristic aesthetic, the al fresco lounge makes use of circular loungers and daybeds, while accents of dichroic glass cast shadows of rainbow reflections across the space. Designing for sea did however, come with its challenges. “There’s relatively low ceiling heights, the construction is completely out of steel and there is vast amounts of restrictions in terms of materials with flammability and wear-and-tear,” Dixon continues. “It’s quite a harsh environment in a way, but restrictions are what designers thrive on and we spent a lot of time battling them and equally being inspired by them.” Concrete, the Amsterdam-based studio behind the design of Citizen M, has been brought in to mastermind The Athletic Club, an outdoor lounge that celebrates traditional nautical elements. Alongside a bar and cabanas overlooking the ocean, the space features a striking red-and-white semi-circular lounger, thought to be the largest at sea. “The DNA of Virgin fits with who we are at Concrete,” says Wagemans. “They have always challenged the cliché, and understand the fact that modern society behaves differently to that of the past. This ship will provide a spectrum of worlds from several designers, so sailors can live the lifestyle they like, not the lifestyle brands tend to dictate.”
Cabins 1,430 F&B 5 restaurants and bars Leisure Swimming pool, spa, gym
Known for incorporating emotion and eccentricity into its designs, Concrete took a human-centric approach at Test Kitchen, a restaurant that encourages guests to focus on the form, function and elements of food. Taking cues from its hospitality concepts, the Dutch practice has dotted the restaurant’s entryway with backlit graphics that mimic the periodic table, and dressed the interiors with metallic furniture and accessories from a science lab, such as test tubes, beakers and volumetric flasks. “At Test Kitchen, you really feel like you’re in a laboratory,” explains Hassanzadeh. “Of course, you can have dinner, but it is also a cookery school, or somewhere to learn how to be a barista or wine expert. You can go there many times and have a completely different experience.” Roman & Williams meanwhile, has designed signature nightclub The Manor. Inspired by Richard Branson’s history in the music industry and his first ever Virgin music studio of the same name, the dance music-fuelled space features emerald and aubergine undertones alongside gold accents to bring a touch of glamour to sea. The Manhattan-based design firm are also behind The Dock, an outdoor lifestyle venue focusing on relaxation and the surrounding ocean. Located at the aft of deck seven, the understated oasis is reminiscent of lounges in the Hamptons, Ibiza and Bali, and features white daybeds, dark wood platforms and an abundance of greenery that softens
the shipscape. “The kinetic energy of a ship has a trigger effect of amplifying everything,” observes Standefer. “What we tried to do constantly was to surprise sailors, it’s about melting them so they begin to have a mildly hallucinogenic, cinematic, dreamy experience.” The Scarlet Lady is a clear statement of intent from Virgin Voyages, and according to the team, there’s a lot more to come before the ‘Lady Ship’ sails out of Port Miami in 2020. Secluded sundeck The Crow’s Nest is expected to be revealed alongside B-Complex – the ship’s exclusive workout area with individual Build, Burn, Bike and Balance rooms – while a cave-like spa, barbershop and salon are set to be unveiled on deck five. “We needed to do more on this ship,” concludes Cooper. “We had to think about the lifestyles people lead in cities around the world, whether in New York or London, or destinations such as Miami or Ibiza. The designers have given us more than we could ever expect, and have succeeded in creating quintessential holiday romance for our sailors.” For McAlpin, the designs of the Creative Collective are key. “At the core of our ‘Epic Sea Change For All’ is ensuring that the spaces on our ships are well-styled, distinct and reflective of the dynamic experience we want to bring to our sailors. Our design partners, together with our internal design team, have dreamed up eye-catching, intimate and alluring spaces that we can’t wait to see come to life.”
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Costa Smeralda CARNIVAL CORPORATION
Inaugural Route Hamburg - Lisbon - Savona Maiden Voyage November 2019
osta Cruises, the Italian brand of Carnival Corporation, has celebrated the traditional coin ceremony for its new ship, Costa Smeralda. Expected to enter into service in 2019, the new flagship is currently under construction at the Meyer shipyard in Turku, Finland, and will feature a design scheme overseen by Adam Tihany. Tihany was appointed as Costa’s first ever Creative Director in 2016, tasked with assembling an elite group of designers to execute the vision for the next generation of ships. Under his leadership, four practices – Jeffrey Beers International, Rockwell Group, Dordoni Architetti and Partner Ship Design – will create a design scheme inspired by ‘Italy’s Finest’, bringing together the quality, style and hospitality of the country. The 2,612 cabins – comprising 28 suites, 106 rooms with terrace, 1,522 rooms with balcony, 168 outside rooms and 788 inside rooms – are being designed by Milan-based studio Dordoni Architetti and decorated with the colours and geometric patterns of the city that each deck is named after. In order to provide a genuinely ‘Made in Italy’ design experience, furniture, lighting, fabrics and accessories have
been selected in collaboration with prestigious Italian manufacturers including Molteni & C, Kartell, Poltrona Frau, Roda, Flos, Dedar and Rubelli. There are also plans for an Italian design museum on board, featuring many of the names that contributed to the ship’s construction. At the heart of Costa Smeralda will be the Colosseo, a three-storey theatre lined with lounges and bars, while Piazza di Spagna features an open-air balcony with glass floor. At the ship’s bow, Trastevere is another piazza with a traditional gelateria and Venice-style bar. In total, the ship will offer 11 dining experiences including a tepanyaki grill, an authentic pizzeria and a Nutella café, as well as several bars, a jazz club and casino. Leisure facilities include four swimming pools, a water park, multi-sports pitch, gym – kitted out with the most innovative Technogym equipment – and a spa with beauty salon, hammam, thalassotherapy pool, 16 treatment rooms, and snow, salt and relaxation rooms. Furthermore, Costa Smeralda will be at the cutting edge of environmental care, becoming the first cruise on the global market to be powered both in port and at sea by liquefied natural gas (LNG), the cleanest fossil fuel in the world.
Seven Seas Splendor REGENT SEVEN SEAS CRUISES
Inaugural Route Barcelona – Miami Maiden Voyage February 2020
egent Seven Seas Cruises has unveiled details of the public spaces and suites of Seven Seas Splendor, due to debut in 2020. The new vessel, currently under construction at the Fincantieri shipyard in Ancona, will build on the US$125 million programme to elevate the entire fleet, which recently concluded with the drydock refurbishment of Seven Seas Mariner. “When we launched Seven Seas Explorer in 2016, we delivered a new level of elegance to the cruise industry. With Seven Seas Splendor’s upcoming debut, we are focused on perfecting all the details,” comments Jason Montague, President and CEO of Regent Seven Seas Cruises. “Everything on board the ship is designed to provide a sophisticated yet comfortable retreat for our guests, and we’re confident that they’ll appreciate the attention to detail that has been put into perfecting the newest ship in our fleet.” In refining the public spaces, Seven Seas Splendor will see some notable revisions from its sister ships. The grand staircase will now face the entrance to her largest restaurant, Compass Rose, enhancing the sense of arrival, while fleet favourite Coffee Connection is moving to the port side of
the ship and is being expanded with a new al fresco seating area. Pan-Asian restaurant, Pacific Rim will remain on the port side, offering guests an unobstructed view of the eatery’s stately central sculpture from the reception area. In addition to the public spaces, Seven Seas Splendor offers 375 airy suites, ranging from the 307ft2 entry-level Veranda Suite, to the lavish 4,443ft2 Regent Suite, complete with private steam room and sauna, as well as a sprawling balcony overlooking the bow of the ship. Each suite category has a distinctive look, with intricate design details that create an elegant and relaxing space. All suites boast a private balcony – some of the largest in the industry – along with king-sized Elite Slumber beds topped with sumptuous linens, and oversized bathrooms outfitted with rich marble and decorative tiling. Seven Seas Splendor will take its maiden voyage in February 2020, sailing from Barcelona to Miami on a 14-night transatlantic trip. Upon opening reservations for the ship, Regent had the best single booking day in the brand’s 26-year history, accounting for a 32% increase over the previous all-time high.
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OceaniaNext OCEANIA CRUISES
Inaugural Route Caribbean Maiden Voyage December 2018
ceania Cruises has announced the US$100 million refurbishment of its Regatta-Class ships in a major overhaul designed to elevate every facet of the onboard guest experience. Titled OceaniaNext, the initiative will transform the line’s four 342-cabin ships, bringing all-new staterooms and suites as well as refreshed bar, restaurant and lounge concepts. Insignia will be the first to debut in December 2018, followed by Sirena in May 2019, Regatta in September 2019 and Nautica in June 2020. “OceaniaNext will be the most extensive and comprehensive suite of product and guest service enhancements that we have ever undertaken,” comments Bob Binder, President and CEO of Oceania Cruises. “Our Regatta-Class ships are like second homes to our loyal guests and travel partners. They don’t build ships like these anymore, which is why this reinspiration project is such an important milestone in our company’s 15-year history. We are maintaining the intimate surroundings and personal attention that our guests love, while at the same time setting a new standard of style and elegance for small ship cruising. We have opened a new
chapter, innovating in every way as we look to the future and the way our guests want to travel.” At the helm of the refurbishment is Miami-based Studio Dado; their scheme inspired by Oceania’s 450 ports of call. A new grand staircase framed by intricate balustrades inset with crystal accents will welcome guests on board, while Martinis – an intimate cocktail bar – is being redesigned in hues of Grecian blue, chocolate brown and stately pewter. Staterooms and suites will see the most dramatic transformation, becoming lighter, brighter and more spacious, with custom-crafted furnishings, exotic stone and polished wood finishes. In addition, every fixture and surface of the bathrooms will be new. “They now feature a very clean design with a sophisticated air,” explains Yohandel Ruiz, Founding Partner of Studio Dado. “Enhanced by nuanced shades of the sea and sky, the tones are warm and soothing, incorporating silvery greys and greens alongside vivid sapphires and taupes.” With new dining experiences and reimagined menus in the works, Oceania say the Regatta-Class refurbishment is the first in a series of enhancements to come in 2018, 2019 and beyond.
MS Roald Amundsen HURTIGRUTEN
Inaugural Route Lisbon – Bilbao – Hamburg Maiden Voyage May 2019
orwegian cruise operator Hurtigruten has revealed plans for two new hybrid ships, billed as the world’s greenest, safest and most advanced expedition vessels. MS Roald Amundsen is the first of two ships Hurtigruten will add to its fleet over the next few years, cutting emissions by sailing with electrical propulsion. Hybrid technology, combined with the advanced construction of the hull and effective use of electricity on board will reduce fuel consumption and CO2 emissions by 20%. The build of these two ships represents the largest single investment in the history of Hurtigruten. “With the great explorers deeply rooted in our history and heritage, Hurtigruten aims to be one step ahead when exploring the world,” says CEO Daniel Skjeldam. “Our new ships will be moving boundaries for the technology, for the industry and for our guests.” Currently under construction at the Kleven yard in Norway, the ships are being developed in collaboration with RollsRoyce, Tillberg Design of Sweden and yacht designer Espen Øino. The exterior will feature a two-level indoor-outdoor observation deck wrapped around the top of the raked bow,
while interiors are Scandinavian in style, characterised by the use of natural materials such as granite, oak, birch and wool. All cabins are outward-facing, with aft suites featuring a private balcony with Jacuzzi. In addition to spacious observation decks and a lounge bar with panoramic windows, MS Roald Amundsen will offer three dining experiences inspired by Nordic heritage, as well as a wellness suite, sauna, gym and outdoor infinity pool. Central to the experience is a science centre packed with technology and gadgets, enabling guests to establish a deeper understanding of the areas they explore. The flexible venue will also feature lecture spaces, a library and speciality areas for workshops in photography, biology and more. The launch of MS Roald Amundsen will be followed by sister ship MS Fridtjof Nansen in 2020. Both will carry a variety of custom-built expedition equipment, including a fleet of Blueye underwater drones, kayaks and large inflatable Explorer Boats used for landings. MS Fridtjof Nansen’s maiden voyage is yet to be announced, while MS Roald Amundsen will set sail from Lisbon in 2019, before heading up to the Arctic and through the Northwest Passage.
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Le Bellot PONANT
Inaugural Route Reyjavik – Akureyri Maiden Voyage July 2020
rench-owned cruise line Ponant – a leader in luxury expeditions – has announced plans to expand its fleet to 12 ships by 2021. Following the debut of Le Lapérouse and Le Champlain in 2018, and Le Bougainville and Le Dumont-d’Urville in 2019, the operator will continue to add to its Ponant Explorers series. An order has been placed for two sisterships, Le Bellot and Le Surville, delivery of which is scheduled for the first and second quarters of 2020. Like the four previous vessels, construction of the new ships will be entrusted to Norwegian shipyard Vard, part of Fincantieri Group, while Stirling Design International – a French studio specialising in the creation of marine passenger vessels – will oversee the architecture and interiors. Le Bellot will feature 92 staterooms and suites, all with balconies, as well as Blue Eye, a multi-sensorial underwater lounge that allows guests to experience the seabed via portholes in the form of a cetaceous eye. Non-intrusive lighting will seek to leave the habitat uninterrupted, whilst hydrophones integrated into the keel will transmit sounds of the deep.
As an essential part of French culture, gastronomy will have pride of place aboard the ship. A 260m2 panoramic restaurant – able to accommodate all passengers in a single sitting – will occupy deck four, while an outdoor grill on deck three will offer a more casual alternative. Additional public spaces include a 188-seat theatre fitted with latest sound and lighting technology, a boutique selling clothing, jewellery and beauty products, as well as a pool deck, solarium and outdoor bar. Le Bellot also features an adjustable hydraulic platform for easier access to the sea for swimming and water sports. Furthermore, Ponant has confirmed its order for the world’s first electric hybrid icebreaker propelled by Liquefied Natural Gas (LNG). Scheduled for delivery in 2021, the Ponant Icebreaker is being designed by Stirling Design International together with Aker Arctic, a Helsinkibased company specialising in the development of the most demanding vessels. With 135 staterooms and an on-board research lab, the innovative vessel is Clean Ship-certified and environmentally friendly. It will take guests to never explored polar destinations such as the true geographic North Pole, the Weddell Sea and Peter I Island.
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Greg Mortimer AURORA EXPEDITIONS
Inaugural Route Antarctica Maiden Voyage October 2019
urora Expeditions has revealed that its first purpose-built expedition vessel will set sail in 2019, with a maiden voyage to Antarctica. Named after the company’s founder – explorer and mountaineer Greg Mortimer – the new ship will be the first in a series of high-performance vessels designed to make the ocean-going experience as safe and comfortable as possible in the polar regions. Working closely with US-based shipbuilders SunStone Ships, the state-of-the-art ice class 1A vessel is being built to the latest polar code specifications and will be the world’s first expedition ship to use the patented Ulstein X-Bow technology. Providing more stability than a traditional bow, it means that the 104m ship can pierce through the waves of the notorious Drake Passage with unprecedented comfort and ease, while also reducing fuel consumption and air emissions. The Greg Mortimer recently reached an important milestone in its construction, with the keel laying ceremony taking place at the China Merchants Heavy Industry (CMHI) yard in Haimen. “We are pleased to have brought together world-class design from Tomas Tillberg, groundbreaking
X-Bow technology from Ulstein, interior construction by Makinen and over a century of shipbuilding expertise from CMHI,” said Niels-Erik Lund, President and CEO of SunStone, speaking at the event. “This dream team is helping us pioneer a new age of expedition cruising, and we are proud to be a part of it.” The vessel accommodates a maximum of 160 passengers across 80 suites, the largest of which measures 36m2. For those travelling as a family group, a number of the staterooms can be interconnected. Facilities include a gym, spa and sauna, a 360-degree open viewing deck, indoor passenger lounge with panoramic windows, and unique hydraulic side platforms providing ample opportunity to marvel at the wildlife. The Greg Mortimer is at the cutting edge of nautical technology and marks a significant investment in Aurora’s fleet. As part of the group’s efforts to protect the fragile habitats in which it sails, environmental considerations include reduced emissions into the air and sea, lower energy consumption and high fuel efficiency, while the virtual anchoring technology of the X-Bow means the ship can float anchorless without disturbing the delicate seabed.
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Caledonian Sleeper SERCO
Inaugural Route London – Glasgow Maiden Voyage October 2018
aledonian Sleeper, an overnight train with services between London and Scotland, has unveiled the design of 75 new carriages, set to launch later this year. Heralding a new era of rail travel, the accommodation offer comprises classic and club rooms with single and twin options, as well as suites with double beds – a feature never seen before on UK rail. The cabins have been created by a group of designers that includes Edinburgh-based studio Ian Smith Design, and come equipped with hotel-style keycard entry systems, charging panels and Wi-Fi as well as temperature control, dimmable lighting and bespoke mattresses from Aberdeen-based manufacturer Glencraft. The Club Car – available to those staying in club rooms or suites – will feature a Highland menu created in collaboration with Dingwall-based kitchen RSF Scotland. As a producer committed to using fresh ingredients with traceable provenance, RSF will take passengers on a culinary tour of Scotland, serving classic and contemporary dishes that celebrate the country’s natural larder. The drinks offer will also follow suit, featuring a range of Scottish beers and spirits, and of course the customary Highland whiskies.
“For the past two years, our dedicated team has worked tirelessly to bring fresh life to the Caledonian Sleeper,” explains Peter Strachan, Chairman, Serco Caledonian Sleeper. “Our ambition has been to improve every aspect of the guest journey and re-establish the Caledonian Sleeper as a true symbol of Scotland. “We believe the new Caledonian Sleeper trains will truly set a new standard in overnight travel and we have worked closely with Transport Scotland on their development since taking over the franchise in 2015. The Sleeper is known throughout the UK as a great way to travel and it is our intention to improve on every aspect of that journey, while offering great value of money for our guests.” Debuting on the Lowlander route between London and Glasgow/Edinburgh in October 2018, before being introduced to the Highlander route in 2019, the new carriages are currently being constructed by CAF – a rail solutions specialist based in northern Spain – at a cost of £100m, partfunded by a capital grant from Scottish Ministers. They will be the first sleeper carriages to be introduced to the UK for over 35 years.
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Axiom Space Station AXIOM SPACE
Inaugural Route Space Maiden Voyage 2020
xiom Space, a privately owned space exploration company, has enlisted Philippe Starck to design the habitation modules for the world’s first commercial space station. Hosting guests from 2020, Axiom Space will offer travellers an authentic astronaut expedition to the International Space Station (ISS) to which their own private module, Axiom Space Station, is attached. Following a 15-week training programme, guests can partake in a 10-day mission, which includes transportation to and from the ISS, and everything necessary to live in orbit. Packages are priced at US$55 million. Featuring crew quarters, a dining area and galley, Axiom Space Station’s habitation environments are designed to channel the feeling of a nest or egg, incorporating materials and colours drawn from the conceptual influence of a foetus. Walls are lined with hundreds of nano-LEDs that change colour in tandem with bio-rhythms, whilst a series of windows afford views of the galaxy beyond. “This is a dream project for a creator like me with a genuine fascination for aviation and space exploration,” comments
Starck. “The greatest human intelligence in the world focuses on space research. My vision for the habitation module on Axiom Station is to create a comfortable egg that is inviting with soft walls and a design perfectly in harmony with the values and movements of the human body in zero gravity.” The complex will be assembled while connected to ISS and separate upon its retirement in 2024. The venture seeks to take some of Earth’s leading visionaries to participate in science, industry and the arts in orbit, whilst experiencing the ‘overview effect’ of seeing the planet and all of humanity as a single unit. The firm believes that this will benefit the philanthropic efforts of its guests and alter their perspectives for the betterment of humankind. Headquartered in Houston, Texas, Axiom Space has a corporate mission to generate space commerce, increase access to space and provide a robust user experience. CEO and President Michael Suffredini comments: “It is an honour to continue the work that NASA and its partners have begun, to bring awareness to the profound benefits of human space exploration and to involve more countries and private citizens in these endeavours.”
Aurora Station ORION SPAN
Inaugural Route Space Maiden Voyage 2022
alifornia-based aerospace firm Orion Span has revealed plans for Aurora Station, billed as the first ever luxury hotel in space. Named after the light phenomenon that illuminates Earth’s polar skies, Aurora Station will host six people at a time – including two crew members – for a 12-day orbital journey. Slated to launch in 2021 and host its first guests in 2022, the modular vessel has been designed by Orion Span’s Chief Architect Frank Eichstadt. Floating 200 miles above Earth’s surface, Aurora Station will orbit the planet every 90 minutes, meaning those on board will see an average of 16 sunrises and sunsets every 24 hours. During their stay, guests will enjoy the thrill of zero gravity and fly freely throughout the station, gaze upon the southern and northern aurora, soar over their hometowns and take part in research experiments such as growing food in orbit. Elsewhere, a holo-deck will allow guests to experience virtual reality simulations and stay in touch with loved ones via high-speed internet access. “We developed Aurora Station to provide a turnkey destination in space,” comments Frank Bunger, CEO and
founder of Orion Span. “Upon launch, Aurora Station goes into service immediately, bringing travellers into space quicker and at a lower price point than ever seen before, while still providing an unforgettable experience.” In preparation for their trip, budding astronauts will undertake the three-month Orion Span Astronaut Certification, a condensed version of the typical 24-month training regimen. The first phase of the programme is completed online, and the second at Orion Span’s state-ofthe-art facility in Houston, Texas. “Aurora Station is incredibly versatile and has multiple uses beyond serving as a hotel,” Bunger adds. “We will support zero gravity research, as well as in-space manufacturing. Our architecture is such that we can easily add capacity, enabling us to grow with market demand like a city growing skyward on Earth. We will later sell dedicated modules as the world’s first condominiums in space. This is an exciting frontier and Orion Span is proud to pave the way.” Despite the price tag of US$9.5 million per person for a 12-night stay, reservations for the first four months sold out within 72 hours.
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FORECAST News and insight into the hospitality transport sector
“The strength and growth of the industry will depend on its appeal to as broad an audience as possible, and how we successfully compete against other forms of vacation.” KYRIAKOS ANASTASSIADIS
THE SHIPPING FORECAST With cruise ship development at an alltime high, Starboard looks to the sectorâ€™s performance, passenger profile and potential to assess the outlook. Words Catherine Martin
“The strength and growth of the industry will depend on its appeal to as broad an audience as possible, and how we successfully compete against other forms of vacation.” KYRIAKOS ANASTASSIADIS
he glo bal cruise industry is undergoing a period of unprecedented growth. The number of new ships on order is at a record high, drydock refurbishments are becoming ever-more comprehensive, and new players are shaking up the sector with lifestyle-oriented concepts. In addition, vessels are becoming larger, more advanced and increasingly luxurious, offering the very best in entertainment, wellness and dining in a bid to appeal to a new generation of traveller. At the last count, there were 113 ships on the orderbook, amounting to over 260,000 new berths due for delivery before 2027. This marks a 40% increase in capacity, leading some to question whether such growth is sustainable. With shipyards booked up, who will build the new vessels? Do ports of call have the infrastructure to accommodate them? And crucially, are there enough passengers to fill these cities of the seas? According to Cruise Lines International Association (CLIA) – an organisation representing 95% of global cruise capacity – the outlook is promising. Its latest figures reveal that the industry surpassed projections for 2017, with the number of passengers globally reaching 26.7 million, up from 24.7 million in 2016 and 17.8 million in 2009. The USA and Canada saw a 5% increase in ocean passenger volume over the previous year, while Europe – the second largest market behind North America – remains strong, recording 2.5% passenger growth. Speaking at Seatrade Cruise Global in Fort Lauderdale in March, Kyriakos Anastassiadis, CEO of Celestial Cruises and Chairman of CLIA Europe, confirmed the positive outlook, pointing out that the growth came in spite of 2017 being a difficult year for Europe, both politically and economically. And remarkably, Germany emerged as a key growth market with an 8.4% rise in passenger numbers. Anastassiadis also revealed that cruising is becoming a yearround business, with Q1’s uptick in bookings demonstrating growth outside of high-season. Passengers cruising to non-
traditional destinations such as Northern Europe and Asia saw an increase too, while the number of Europeans taking expedition cruises grew by 43%. “The strength and growth of the industry will depend on its appeal to as broad an audience as possible, and how we successfully compete against other forms of vacation,” he explained, adding that cruising is beginning to attract a younger audience, particularly in Europe where the average age of an Italian guest is 42, well below the global average of 47. “What’s interesting is that the fastest growing category of cruise passenger are children under the age of 12, which grew by 5.5% in 2017,” he continued. “That in itself demonstrates that cruising is becoming more attractive to families.” It’s worth noting that cruising is a deeply under-penetrated form of holidaying. In the USA, 170 million vacations are taken every year, with only 12 million of those being on a cruise – a small proportion. A study by TUI Cruises meanwhile found that only 8% of the population in Germany have been on a cruise – so there’s plenty of potential. CLIA’s annual Cruise Industry Outlook also reported a significant rise in the number of passengers hailing from Asia, up 20.5% in 2017, with other analysts predicting China’s emergence as the world’s largest cruise market. Operators are clearly taking note, with Royal Caribbean launching Quantum of the Seas specifically for the Chinese guest, with Mandarin-speaking crew and local cuisines served on board. Sailing between China and Japan, the vessel features the first skydiving simulator at sea, as well as bumper cars, a climbing wall and roller rink. While movie theatres, water parks and surf simulators are now commonplace on larger vessels, facilities on board are becoming ever-more ambitious. Norwegian Bliss for example features a two-level go-kart track where guests can reach speeds of 30mph, while MSC Seaside features a 105m zipline. Symphony of the Seas, which took its maiden voyage earlier this year, has the tallest water slide at sea – plummeting a hair-raising 20-storeys – along with a host of other recordbreaking feats. With a capacity of 6,680 guests and weighing in at 228,000gt, it is largest cruise ship ever built, an honour
“One of the reasons that investors tend to look at cruise supply as being aggressive, is that global hotel supply growth is around 3% – and this is viewed as a high rate.” DAVID BECKEL
that has been passed between 11 different vessels over the last 30 years. Its size vastly outweighs Cunard’s RMS Queen Elizabeth, which at 83,000gt held the title for 56 years following its 1938 launch. With over half of the ships on order weighing in excess of 100,000gt, it’s only a matter of time before Symphony’s record is broken, though available slots at shipyards are becoming increasingly scarce. The shipbuilding sector continues to be dominated by European yards Fincantieri, Meyer Werft and STX France, but with the majority booked up until 2021 and beyond, cruise lines are seeking alternative solutions to expand their fleets. Some are turning to yards traditionally used for the building of cargo ships or offshore support vessels following a decline in the oil industry, though there are concerns over quality of finish with passenger vessels subject to more stringent regulations. Genting Hong Kong, which operates Crystal Cruises, has even resorted to buying its own shipyard so as to secure fulfilment of its orderbook. While shipyard capacity is undoubtedly limiting growth of the cruise ship industry, some view the constraining factor as a positive, ensuring the sector doesn’t succumb to over-supply. Passenger numbers must hit 32 million over the next five years in order to fill the ships currently on order, and investors are already nervous about whether demand can match the 7% year-on-year supply growth. Speaking at Seatrade Cruise Global, David Beckel, Senior Equity Analyst at Sanford C. Bernstein & Co., reported: “One of the reasons that investors tend to look at cruise supply as being aggressive, is that global hotel supply growth is around 3% – and this is viewed as a high rate.” However you look at it, the numbers are colossal. Take Costa Cruises Group, one of the main operating companies within Carnival Corporation. The 26 ships in its fleet – belonging to the Costa Cruises, AIDA Cruises and Costa Asia brands – have a total capacity of over 74,000 beds; the fleet will take delivery of seven new ships by 2023, increasing capacity by 50%. Then there’s MSC Cruises, which has already achieved 800% growth in its first 10 years of trading. Under its ambitious €11.6 billion investment plan, the fleet is set to expand to 25 mega-cruise ships by 2026 – some of which carry up to 7,000 passengers. And it’s not just newbuilds, the dry-dock refurbishment
market is booming too, bringing with them lucrative contracts for product suppliers and manufacturers. Oceania Cruises, part of Norwegian Cruise Line Holdings, has announced the US$100 million enhancement of its four 684-guest ships – a project that will see the renewal of 1,400 marble bathrooms, the installation of 8,000 new light fixtures and the addition of 12,000 new sofas and chairs. While it’s easy to make comparisons with the hotel industry, the cruise sector does have advantages over its landlocked counterpart. Operators can physically move assets to different regions should demand in a particular destination fall, and due to shipyard capacity and tight deadlines, it is known exactly when and how much new supply will come online. The crossover with traditional hospitality models is becoming more pronounced however, with the cruise market’s new players seeking to recreate their land-based hotels at sea. The Ritz-Carlton Yacht Collection has entered the realm with the unveiling of three small-capacity vessels, each with 149 suites and a host of luxury facilities, while Virgin – which opened its first hotel in 2015 – will set sail from Miami in 2020 with an adults-only ship featuring a spa, thermal suite, athletics club and blow-dry bar. Virgin has also looked to land-based designers, better known for their hospitality or residential schemes, to create its interiors, aiming to provide an experience more in line with a luxury resort than a cruise ship. Individually designed restaurants, bars and lounges are an important part of the offer, with Virgin Voyages and other luxury operators differentiating themselves through dining options and chef partnerships. Alain Ducasse is culinary advisor for Ponant Cruises; Seabourn has introduced The Grill by Thomas Keller to all five of its ships; and Celebrity Edge, the forthcoming vessel from Celebrity Cruises, boasts a total of 29 distinctive restaurants, cafés, bars and lounges. For many operators, the on-board experience is about providing choice, whether that be through world-class dining, signature spas or family-oriented leisure pursuits. But with the level of new supply coming online, the sector’s success hinges on its ability to cater to a wider audience. While there’s still a way to go in educating travellers on what cruising can offer, the industry is faring well in revolutionising the design and services of its ships to meet the needs of a new generation of traveller. It’s fair to say the shipping forecast looks good.
The Celebrity Revolution Celebrity Cruises is seeking to transform the industry with the unveiling of The Celebrity Revolution, a US$500 million reimagining of its entire fleet in partnership with more than 500 leading architects, interior designers and engineers. The transformation began with the reveal of Celebrity Edge, due to set sail in December 2018, and will gradually be rolled-out across the entire fleet. “We launched The Celebrity Revolution to do one thing – transform the way our guests experience the world,” comments Lisa Lutoff-Perlo, President and CEO, Celebrity Cruises. “Our dedication to improving the way guests experience the world knows no bounds. We are taking our entire awardwinning fleet to the edge and giving people the vacation they truly deserve.” Having created the Reflection Suite and a series of Signature Suites on Celebrity Millennium, Celebrity Constellation, Celebrity Infinity and Celebrity Summit, designer Kelly Hoppen MBE will bring the concepts to Celebrity Solstice, Celebrity Eclipse, Celebrity Equinox and Celebrity Silhouette, along
with The Retreat – a luxurious lounge and sundeck for suite-class guests. Celebrity Cruises is also working with Hirsch Bedner Associates to transform the staterooms on board its ships, and will introduce a number of new culinary concepts including the brand’s virtual Le Petit Chef experience, created by the artists of Skullmapping and presented by TableMation. Oceanview Café will be redesigned with an open, airy, marketplace-inspired design, while the main dining room will undergo a refresh with new textures and finishes throughout. “Every detail of our staterooms has been elevated, every comfort refined,” confirms Brian Abel, Senior Vice President, Hotel Operations, Celebrity Cruises. “By the end of The Celebrity Revolution the entire fleet will have the same quality, design essence, and consistency of modern luxury, bringing our fleet to the edge.” The revitalisation will begin with Celebrity Millennium in 2019, and continues across the fleet through 2023.
Orderbook 2019/20 2019
Chantiers de l’Atlantique
Chantiers de l’Atlantique
Norweigan Cruise Line
Carnival Cruise Line
Royal Caribbean International
Passion of the Seas
Royal Caribbean International
Spectrum of the Seas
Chantiers de l’Atlantique
Mein Schiff 2
Spirit of Discovery
Viking Ocean Cruises
Ritz-Carlton Yacht Collection
Le Dumont d'Urville
China Merchants Group
Shipyard De Hoop
Carnival Cruise Line
Chantiers de l’Atlantique
Royal Caribbean International
Pulse of the Seas
Chantiers de l’Atlantique
Chantiers de l’Atlantique
Spirit of Adventure
Regent Seven Seas Cruises
Seven Seas Splendor
Scenic Eclipse II
Crystal Yacht Cruises
Lindblad National Geographic Cruises
National Geographic Endurance
Aqua Expeditions eyes expansion As the first adventure travel company to offer luxury cruises on both the Amazon and Mekong rivers, Aqua Expeditions has revealed plans to expand its fleet to new routes worldwide. “I have every intention of putting more boats on more bodies of water,” explains CEO Francesco Galli Zugaro, who founded Aqua Expeditions in 2011 having fallen in love with small-ship cruising whilst working in the Galapagos. “I spend 40% of my year scouting new destinations; I’ve done several trips to assess bodies of water in sub-Saharan Africa, and I’ve looked at Southeast Asia, from Indonesia to Thailand to Myanmar.” Argentina, Panama and The Kimberley in Western Australia are also on the radar, in a move that will add to the current routes in Peru, Cambodia and Vietnam. “The size of our boats – 45-60 metres with 15-20 cabins – means that we can travel to places larger boats can’t get to,” he continues. “We don’t encounter the problems mainstream cruising has today in that they need more ports of call. We have the advantage that we can basically go anywhere.” Seeking to explore remote and culturally important destinations on the world’s greatest rivers, the inaugural vessel, Aria Amazon, entered service in 2011 featuring interiors by Peruvian designer Jordi Puig. Having established a loyal guest
base, Galli Zugaro launched his second expedition ship in 2014, this time cruising the Mekong between Cambodia and Vietnam. Targeting adventurers who want an authentic experience without sacrificing creature comforts, Aqua Mekong features 20 suites measuring 30m2, indoor and outdoor bars, an observation deck, cinema, games room and plunge pool. Interiors are by Vietnam-based Noor Design, and are more in-line with a boutique hotel than a cruise ship thanks to the quality finishes and high-end furnishings. Shore excursions and on-board programming are also an important part of the experience, with small group visits to historic and cultural sites hosted by experts in conservation, as well as special culinary expeditions led by Michelin-starred chef David Thompson. Along with plans to add to his fleet, Galli Zugaro is partnering with a number of large cruise lines, who charter Aqua Expeditions as an optional add-on for their guests. For now though, the focus is on expanding the core business to new destinations. “I have plans to grow and now it’s a matter of finding the right financing for the new venture,” he concludes, remaining tight-lipped on the exact locations lined up. “What I can say, is that I’ll be staying true to my vision and ethos.”
AccorHotels partners SNCF Group on Orient Express AccorHotels has teamed up with SNCF Group, owner of the Orient Express name, to continue development of the iconic brand within the luxury hospitality sector globally. Coming 134 years after the first Orient Express journey from Paris to Constantinople, the partnership will see AccorHotels acquire a 50% stake in the brand’s share capital. The Orient Express is a timeless symbol of luxury travel, and SNCF has been actively involved in developing the brand since 1977, notably through the restoration of vintage carriages from the 1920s. AccorHotels intends to build on this reputation to strengthen its leadership in the luxury segment, developing a new collection of hotels under the Orient Express banner. Each property will aim to be the very epitome of the art of travel, offering a unique experience steeped in history. “We are delighted with this strategic partnership, which cements the alliance of two major French players in the world of travel for a shared purpose, that of giving fresh
impetus and international standing to an historic and worldrenowned brand,” says Sébastien Bazin, Chairman and CEO, AccorHotels. “Thanks to this partnership, our customers will be able to enjoy a prestigious range of services and exceptional experiences based on a portfolio of luxury brands.” Guillaume de Saint Lager, Corporate Secretary, Orient Express, adds: “In its time, the Orient Express took the art of travelling to its peak. This ambitious project, which is unique, cannot come to fruition without the complementary skills of our two shareholders. We are proud and particularly look forward to being involved in writing this new chapter with such strong backing. Our ambition is to recreate this experience and make the Orient Express the gold standard in luxury travel and hospitality.” The news comes more than three years after Orient Express Hotels rebranded its portfolio of hotels, trains, river cruises and safari lodges as Belmond, with the exception of the Venice Simplon-Orient-Express rail service.
New suites for Belmond Venice Simplon-Orient Express
Anantara and Puro Group take flight Anantara Hotels, Resorts & Spas has partnered with private airline MJets to offer jet transportation between its signature properties. Elevating the Anantara concept of luxury travel to new heights, the venture enables guests to curate their own tour of the Indian Ocean. Taking off from Bangkok, the aircraft will journey to the shores of Sri Lanka and the Maldives, linking Anantara Peace Haven Tangalle Resort and Anantara Kihavah Maldives Villas for the first time. Up to eight guests can travel on Cessna Citation X, while larger groups are accommodated on the Gulfstream V, which features fully reclining beds, shower facilities and a three-zone cabin for working, dining and entertaining. In Europe, Puro Group has launched a similar venture, partnering with German airline Hahn Air to offer flights between Düsseldorf and Palma de Mallorca. Guests aboard the Purojet Cessna Citation Sovereign C680 can enjoy an experience reminiscent of the group’s hotel and beach clubs at 35,000 feet.
Belmond has announced the launch of three new suites aboard Venice Simplon-Orient Express, bringing a new level of luxury to the renowned sleeper train. Named Paris, Venice and Istanbul after stops along its route, the suites have been designed by Wimberly Interiors to reflect the spirit of each destination whilst staying true to the original 1920s Art Deco aesthetic. “This is a one-of-a-kind restoration project,” explains Gary Franklin, Managing Director, Trains & Cruises, Belmond. “The designs are sensitive to the original history of the carriages and each cabin is inspired by the city it represents.” The Paris Suite is adorned with crystal barware and Lalique crystal panels in reference to the city’s historic Art Deco leanings, whilst The Venice Suite channels the Baroque and Renaissance heritage of Venice through damask silks, Murano glass chandeliers, traditional mirrors and antique tapestry. The Istanbul Suite, influenced by Ottoman design and the rich patterning of Topaki Palace, features carved timber and marquetry panels with mother of pearl accents, as well as embossed leather and exaggerated metal details. “It was extremely important when developing the design concept that we embraced the unique story and history of the brand; to capture the epitome of classic luxury travel that the Venice Simplon-Orient-Express exudes,” says Rachel Johnson, Vice President and London Studio Director, Wimberly Interiors. “We focused on moments within each city, inspiring visual cues and the overall Belmond guest experience. It was an exciting challenge to use this inspiration to recreate the essence of Art Deco glamour in a graceful and timeless design.”
Radical Innovation: the future of travel? For more than a decade, Radical Innovation Award has challenged designers, hoteliers, and students to envision pioneering ideas in hospitality. The longstanding competition invariably attracts the attention of the hotel design community, and this year’s finalists have also caught the eye of the transport sector, having tapped into the growing trend for mobile hospitality solutions. The Autonomous Travel Suite by Aprilli Design Studio is a driverless, mobile suite that offers door-to-door transportation between a traveller’s home and destination. The compact space – which extends into a larger suite when docked – is equipped with sleeping, working and washroom facilities, allowing guests to be efficient and productive while on the road. Acting as both a personal rental car and hotel room, the concept is a departure from the conventional hotel experience and offers a new way to travel. The recently announced winner in the student category meanwhile, also looked to the transport industry for inspiration. Utilising autonomous vehicle technology, Room Extension Solution (RES) – by Daniel Czyszczon and Michał
Witalis of Cracow University of Technology – acts as an extension to the guestroom. Travellers will be collected by RES and transported to a docking station, where the vehicle becomes part of the overall room, complete with a full-size bed, ample storage space for luggage with cabinets and wardrobe, and a fully operational bathroom. Aprilli Design Studio, along with other finalists Varinot & Varinot Architectes and Network of Architecture, will present their scheme to the judging panel at the New Museum in New York City on 3 October 2018, where the winner will receive a US$10,000 prize. “These finalists stood out from nearly 50 entries due to their ability to leverage emerging technologies and social conscientious, sustainable global trends within a unique hospitality experience,” explains John Hardy, CEO of The John Hardy Group and founder of Radical Innovation. “Not only have our selected finalists created concepts that are foreseeable in the not-so-distant future, but each holds the power to impact the future of travel in a creative and sustainable way.”
Bow-to-stern enhancements for Norwegian Norwegian Cruise Line has unveiled the results of a series of enhancements across three of its ships, further showcasing its commitment to design and guest experience. As part of The Norwegian Edge – an ongoing programme to elevate the standard of excellence across its fleet – the revitalised ships feature refreshed interiors as well as new dining venues and lounges. “What a year this has been for us at Norwegian Cruise Line,” says Andy Stuart, President and CEO of Norwegian Cruise Line. “Not only did we introduce our latest and record-breaking ship, Norwegian Bliss, and announce the redeployment of her sister ship Norwegian Joy, but we are now unveiling our newly revitalised ships; Norwegian Breakaway, Sun and Star. This is a testament to how invested we are in our guests’ experience. Although we are one of the youngest fleets in the industry, we are very committed to The Norwegian Edge programme, which allows us to remain consistent, relevant and exciting.” Norwegian Breakaway has seen upgrades to its 2,014 cabins, as well as the debut of American rock ‘n’ roll bar Syd Norman’s Pour House during a two-week dry dock in Brest, France. Meanwhile, Norwegian Sun has undergone a three-week bowto-stern renovation in Victoria, Canada, during which three new venues were added, including Mexican eatery Los Lobos Cantina. Finally, Norwegian Star has seen enhancements to its staterooms, public spaces, bars, restaurants and lounges, unveiling Sky High Bar and Bliss Ultra Lounge following a dry dock in Barcelona. The vessel has also debuted Spice H2O, the group’s first adults-only enclave complete with a swimming pool, hot tubs, lounge bar and live entertainment.
Minor Hotels sets sail Minor Hotels has partnered with Mekong Kingdoms to launch a selection of river cruises aboard a fleet of five luxury vessels. Cruising along the Mekong River from Thailand’s Golden Triangle to the UNESCO World Heritage city of Luang Prabang, travel options include Nomad, a couples retreat for sunset cruises; Play, a floating lounge for private groups; and Gypsy, an intimate two-cabin cruiser that can be customised to suit a guest’s specific travel requirements. The next addition to the fleet will be Bohème, a 13-cabin luxury barge featuring a dining room, bar, wine cellar, spa and expansive sun deck. The vessel is being designed by Jiraparnn Tokeeree, who has worked with Minor Hotels on a number of its Anantara and Avani properties. Tokeeree also collaborated with Mekong Kingdoms for the design of Gypsy, where she combined local materials with timehonoured construction methods for an authentic offer. Extensive use of wood and thatch blends seamlessly with the verdant surrounds of the Mekong River’s shores, and is complemented by local handwoven ornaments and Thai silk upholstery in bold colourways. The boat’s contemporary interiors feature wood panelled ceilings, floors and walls, intricately etched cupboards, woven leather seating and oversized bamboo daybeds. On Bohème, the scheme brings together Indochinese-inspired art with plush furnishings. The well-appointed cabins measure 24m2 and feature floor-to-ceiling windows and Juliet balconies. Each is fully air-conditioned and comes with ensuite shower and vanity, fluffy bathrobes, slippers and bathroom amenities. The barge will also offer gourmet meals and curated experiences, whilst providing informative insight into the region’s culture, and encounters with authentic local riverside communities. “Our guests are travellers who desire not just a unique travel experience, but one that enhances the ambiance of the destinations,” explains Dillip Rajakarier, CEO, Minor Hotels. “Mekong Kingdoms cruises harken back to the days when the journey is savoured as much as the destination.”
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VOYAGE Reviewing the new vessels taking to the seas, skies and tracks
068 Seabourn Encore
Luxury cruise operator Seabourn collaborates with Adam Tihany for the design of its new generation of ships
076 Viking Orion
Viking Cruises continues to venture into uncharted territory with the latest addition to its new fleet of ocean liners
084 Belmond Andean Explorer
Muza Lab combines rich artisanal detailing with a respect for the Peruvian landscape to design South Americaâ€™s first luxury sleeper train
Luxury cruise operator Seabourn collaborates with Adam Tihany for the design of its new generation of ships. Words Lauren Ho Photography Â© Eric Laignel
Owner Carnival Corporation Operator Seabourn Shipyard Fincantieri Interior Design Tihany Design Art Consultant Artlink
e’s the creative force behind a glut of high-profile hotels, from Las Vegas’ Mandarin Oriental to The Oberoi in New Delhi, and more notably, a number of restaurants for star chefs including Thomas Keller, Daniel Boulud and Heston Blumenthal – to name just a few. He has also served as Art Director of the Culinary Institute of America, and sat on advisory boards for the New York School of Interior Design and Pratt Institute. In that respect, it’s probably fair to say that Adam Tihany is prolific. So when luxury cruise operator Seabourn cast the net for the ideal person to fulfil the design vision of its two new ships – Encore and Ovation – it was Tihany they were looking to catch. For the New York-based designer, although having previously worked on the public spaces for a few cruise liners, this was an opportunity to be able to design an entire ship. “I always wanted to design a complete luxury cruise line and Seabourn is the best in the world for small ship cruising,” says Tihany. “Our work is very personal – very bespoke – so Seabourn is the perfect scale for what I do.” Rick Meadows, CEO of Seabourn agrees: “Partnering with Adam was a very thoughtful decision. We wanted to break from tradition and we are so proud that this was the first time that he has created a vision for an entire ship. His understanding of luxury and hospitality was critical for us… His artistic sensibilities are a wonderful match for Seabourn.” Over the past 28 years or so, Seabourn has worked its way to the top of the luxury cruise game to result in a small
fleet of five highly personalised ships that take, on average, around 500 guests. Its mix of classic and intrepid itineraries, that includes far flung voyages to Antarctica, along with its stellar service, quality cuisine and all-inclusive aspect, has meant that, on any given sailing, over half the guests will most likely be repeat customers – something Tihany took into great consideration when sketching out his designs. “The guests have certain expectations about what they will experience on board,” he says. “We wanted to provide comfort with the fact that their favourite chair would still be waiting for them on the new ship. It might be a different chair, but we wanted to create a sense of familiarity.” With that in mind, Tihany has created an intimate and exclusive, almost club-like feel, akin to being on board a private yacht. Polished mahogany and creamy leathers have been used to great effect, notably in the public spaces, such as The Atrium, where a striking elliptical double-helix staircase – which encircles a bespoke six-storey art installation by Lasvit – takes centrestage. Here, plenty of natural light streams through the skylight above, which is a common detail thanks also to the many floor-to-ceiling windows throughout the ship. This is best experienced in the glass-enclosed 11th floor Observation Lounge, where the semi-circular bar in the middle of the room is the perfect perch to drink in more than just the surrounding views. The back of the vessel has been smartly shaped to house the rest of the F&B options. Here, you can find a poolside venue in a hollowed out section of the ship, where surrounding glass shields the diners from the elements; The Club, where late-night revellers can sit ensconced with a nightcap while watching live music; an intimate 30-seat sushi restaurant that
Cabins 300 all-suite staterooms F&B 5 restaurants and bars Leisure 2 swimming pools, gym, spa
Public spaces and staterooms feature furniture from Italian manufacturers such as Poltrona Frau, Pedrali, Minotti and Molteni & C, while outdoor pieces come courtesy of Janus et Cie. Sekers, Pierre Frey and Dedar have supplied upholstery and drapery throughout
“The margin for cruise ships is very tight. Everything is in steel, so you can’t make simple fixes like with land-based projects. Also, you have to be very creative with the design – it has to have a long-lasting appeal – as guests are on board for days, sometimes months at a time.” ADAM TIHANY
Current Route Mediterranean Flag State Bahamas Passenger Capacity 600 Decks 12 Gross Tonnage 40,350 Length 690ft Beam 92ft
serves up dishes with fresh ingredients imported from Japan in a sleekly curved low-key setting; The Restaurant, where navy blue and ivory hues, handblown glass chandeliers and open-display wine racks come together to form the largest and most formal of the dining rooms; The Colonnade, a more relaxed indoor-outdoor venue designed to encapsulate the energy of a marketplace; and of course, the pièce de résistance, The Grill by Thomas Keller. Tasked by Keller to ‘capture the optimism, spirit and celebration synonymous with dining out in 1950s and 60s America,’ Tihany says: “My research was to uncover the language of public spaces during this era, which I found is an interesting combination of British pubs, American steakhouses and corporate America – which at that time was very cultured and sophisticated.” The result captures that sense of nostalgia with rich champagne colours, low-key lighting, curved banquettes and a two-storey backlit art wall. Headlining the menu meanwhile, are timeless classics from lobster thermidor and creamed spinach to Caesar salad and Dover sole, both prepared tableside for added theatre. The design highlight though, as both Tihany and Meadows agree, is Seabourn Square. A new addition for the brand, this is best described as the living room of the ship, where guests can be seen lounging on comfortable sofas, while munching on pastries and sipping coffees from the café, or gently dozing to the rocking of the ship on reclining Poltrona Frau leather armchairs. Meanwhile, at the centre of the room is an openplan concierge hub, which Tihany intentionally uncovered
to create a more inviting atmosphere. “On previous ships, this area was occupied by a large box, which housed the concierge and hid them,” he explains. “Removing the box was a hospitality-driven gesture, but also the whole gestalt of curves, softness and resulting openness sets the tone for the entire ship.” Back along the vessel, the guestrooms have been smartly arranged so that life can continue on board as if you have never left home. As such, the 300 all-suite cabins each have large double sink marble bathrooms with bathtub, walkin wardrobes and a living room that opens up to private verandas framing sea views and beyond. Creamy ivory shades and royal purple hues are revealed through statement leather headboards, patterned carpets and sensuously curved furnishings – all the more inviting to hunker down in after a day spent exploring onshore destinations or even just relaxing at the spa. Of course, designing an entire ship is not always plain sailing. “The margin for cruise ships is very tight,” says Tihany. “Everything is in steel, so you can’t make simple fixes like with land-based projects. Also, you have to be very creative with the design – it has to have a long-lasting appeal – as guests are on board for days, sometimes months at a time.” But then again, he also says: “The best projects start with the best clients. Our approach is very collaborative, so working with a team of equally passionate, driven people only makes our job more fulfilling.”
Viking Cruises continues to venture into uncharted territory with the latest addition to its new fleet of ocean liners. Words Laura Ivill Photography ÂŠ Eric Laignel (unless otherwise stated)
ÂŠ In Joy Photography
Operator Viking Cruises Shipyard Fincantieri Architecture and Interior Design Rottet Studio and SMC Design
hen the owner and chairman of Viking, Torstein Hagen, was looking for an interiors architect for his new fleet of ocean ships, Richard Riveire was top of his list, not least because his design firm, Rottet Studio, had worked on the Longships for Viking River Cruises. However, Riveire had a confession to make. “Back then [in 2011], it was very unusual to hire a hotel architect to do a cruise ship. I said to him not only have I never been on a cruise in my life, I’ve never been on a cruise ship. But Torstein said, ‘that’s what we want, we want a hotel person.’” Riveire is most definitely that – as Principal with Rottet Studio in LA, he leads the West Coast and Asia practices, where projects have included The Surrey in New York, St. Regis in Aspen and new presidential bungalows at the Beverly Hills Hotel. Four Seasons, The Ritz-Carlton, Langham, Conrad and Belmond are also among his rollcall of clients. Entrusted with an entirely new brand, the first new cruise line
in 25 years, Riveire explains that nailing five design precepts to be incorporated throughout the ship’s design gave clarity of thought and purpose: residential modernism; Scandinavian heritage; nature, craft and exploration. For the guest, all this is executed with a deft lightness of touch. This summer Viking Orion launched from the Fincantieri shipyard in Italy. It is the fifth Viking Ocean ship since Viking Star launched in 2015, each coming off a huge-scale production line that has included Viking Sea, Viking Sky and Viking Sun. Viking Jupiter is due next year, but it doesn’t stop there – ten additional ships are on order from Fincantieri for delivery starting in 2021, the final six of these subject to specific conditions. This makes Viking’s total ocean ship order (and options) the highest ever for a shipyard from a single owner in modern-day cruising, which, says Hagan, “speaks to the positive response we have received from our guests and the industry”. Viking is well known for its river cruises, a business that Hagen started in 1997 and built up to include more than 60 ships. But now in his mid-seventies, Hagen has his sights set on all corners of the world, as Orion will make its way into new cruising territory for Viking – Asia, Australia and Alaska. Exploration is at the heart of the Viking brand (daily shore excursions are always included in the price) and, unique to
Route Global Flag State Norway Passenger Capacity 930 Decks 9 Gross Tonnage 47,800 Length 745ft Beam 94.5ft
Orion is the Explorers’ Dome, a planetarium-like theatre (the ship’s godmother is former astronaut Dr. Anna Fisher). Otherwise, the ocean ships are identical, for a number of reasons, as Alan Stewart, Senior Associate of cruise specialists SMC Design in London, explains. He has worked on the project with Hagan from the beginning and says that the Norwegian wanted his ships to express a sense of familiarity, of ‘coming home’, which repeat guests in particular would appreciate. Three years of design and redesign was put into the project up front, so as to perfect the first ship and then roll it out. “The majority of the public spaces were designed three times over before we got to something everyone was happy with,” Stewart says, emphasising how Hagen persevered with every detail. The result is a ship that flows, where guests have the choice of many different spaces, and can find cosy corners in any
Staterooms 465 F&B 9 restaurants, 6 bars Leisure 2 swimming pools, gym, spa
The 465 staterooms feature contemporary overhead lighting by Beadlight, while public spaces are furnished with custom-made furniture from Warisan
one of the lounges, restaurants, bars, deck and entertainment spaces. Riveire says they conceived the flow of the ship as a series of residential, interconnecting, intimate spaces. “We look at scaling to a point where it feels comfortable,” he says of his firm’s ethos. “Also, I’m vaguely claustrophobic, so I like spaces where I feel there’s another space beyond, where there’s a seamless flow between things, but that it changes as you go. You make the spaces smaller but people are never crammed in.” From the guest perspective, it really works. Eschewing chandeliers, swags and tassels in favour of clean lines, symmetry and a simple palette of soft blues and blonde wood, each space has been designed to be attractive, relaxing, comforting and Scandinavian in feel, whether that’s Mamsen’s restaurant with its contemporary faux fireplace, the cocooning spa, the sumptuous animal hides in the Explorers’ Lounge, the contemporary sun lougers around the main pool with its vast retractable roof, or the Scandi seating and sculptures of the Winter Garden, where guests read or take afternoon tea to the sounds of a classical trio. “Our ships are made to feel spacious and bright but also wonderfully intimate,” says Wendy Atkin-Smith, Managing Director of Viking Cruises UK. “Textures of limestone,
granite, glass and natural woods work with accents of handmade textiles, reindeer pelts and soft woollen throws to create comfortable, relaxing areas. Scandi-fresh colours take their inspiration from the sea, the sky and the earth.” In 20 years working with SMC, Alan Stewart says they have never been busier and that working in partnership with Riveire has brought a new dimension to ship design. “We were the lead architects but everything went through Richard for his approval to proceed. We learned a lot working with him because he’s the hotel guru. He adds the finesse. “Designing ships is completely different from land-based projects because we are so restricted with the materials and regulations,” Stewart continues. “At our library in London, all our materials are IMO-rated ready to go. Richard would select a fabric or material and we would find an alternative. He genuinely cares about every detail, every button.” Happily, this is not the end of the story, as Viking, Rottet Studio and SMC Design are taking their teamwork into new territory and with new classes of ship. “There are some incredible new design that we are working on with Richard,” Stewart says. “Revolutionary.” This is one Viking invasion we look forward to.
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Belmond Andean Explorer PERU
Muza Lab combines rich artisanal detailing with a respect for the Peruvian landscape to design South Americaâ€™s first luxury sleeper train. Words Guy Dittrich Photography ÂŠ Richard James Taylor
Route Cusco – Puno – Arequipa Owner / Investor / Operator Belmond and PeruRail Design Architect Palacio Arquitectos Interior Design Muza Lab Lighting Design Granville McAnear Lighting Design
arving a path through Peru’s natural wilderness – where endless plateaus tufted with hardy Ichu grass rise to meet the majestic, snow-dusted Andes – is one of the world’s highest rail routes. The silvery parallels of the tracks leave their trace across desert plains, beckoning around the contours of a steep-sided canyon; to journey on the Belmond Andean Explorer means to be at one with the rawness of Mother Earth. And it is a respect for this natural beauty that motivates the design scheme, by Muza Lab. Co-founded by Inge Moore and Nathan Hutchins, the London-based studio is no stranger to such emotive projects with Belmond, whose portfolio of hotels, safari lodges, train journeys and river cruises reaches some of the world’s most inspiring destinations. In Botswana, the duo designed Belmond Eagle Island Lodge, triumphant in the Lodges & Tented Camps category at AHEAD MEA 2017; Moore has recently returned to the country to complete Belmond Savute Elephant Lodge; and back in Peru, there’s talk of luxury boats on the Amazon. For its latest rail expedition, Belmond has partnered with PeruRail to offer one- and two-night trips between the colonial towns of Cusco – stopping off point for the must-see ruins of Machu Picchu – and the white city of Arequipa, overnighting in Puno on the shores of Lake Titicaca. “We wanted to create a calming ambiance as the landscape is so amazing,” enthuses Moore of this 18-month project that clearly captured their imagination. Muza Lab’s restrained interiors allow the natural beauty of the Peruvian Andes unfolding outside to take centrestage. And this chimes neatly with the biggest constraint of a train – space. The clever use of shallow cupboards and shelves, space-saving fold-down tables and bunks, plus the removal of luggage once unpacked keeps the small cabins uncluttered. The neutral palette of linen and parchment is reductive and with the smart placement of mirror creates the illusion of more space. It also mollifies the
Muza Lab’s scheme combines local craftsmanship with furniture and lighting from international names such as Vaughan and Restoration Hardware
impact of the decorative detailing of pressed steel ceiling panels and wood surrounds, originally lacquered in a deep red, faux-mahogany. Built in Queensland, Australia, the train ran as the Great South Pacific Express until 2003 before being exported to Peru in 2016. Only constructed in 1994, the style is nevertheless in homage to the golden age of rail travel. The conversion saw a reduction in berths from 103 to the current maximum of 48, with cabin configurations varying from doubles and twins to foldaway bunks, each with flexible layouts for day and night. “We wanted to keep the heritage elements that reflect the idea of slow travel but bring them up-to-date,” explains Moore, referencing a modern nostalgic approach. For example, the detailing of the bathroom flooring has been replicated by a Cusco pottery and can be seen in ceramic beakers and bathroom shelving; a genius idea that ties old with new. “We have also taken an honest approach to the design by contrasting the original brass elements with updated chrome bathroom fittings,” she confirms. Moore emphasises that there shouldn’t be “too much design on a train”, and this is reflected in the limited palette of complementary neutrals in the cabins, accented by blue
leather upholstery for freestanding lounge chairs in larger cabins, or bold crimson tassels on the corners of black-andwhite striped cushions. Public spaces follow a similar aesthetic. The curved bar at one end of the lounge car is mirrored by the piano at the other, and all within a more sophisticated, formal interior that plays on the blue of the sky and yellow of the sun. Delicate gauze lampshades illuminate the pattern of fabric panel inserts that mimic the wings of butterflies, whilst navy felt cushions sit alongside those with a yellow fringe. The design of the Observation Car with open deck at the rear of the train has a more casual, playful approach. Brightly coloured handwoven fabrics sourced in a Cusco market have been made into durable cushions, whilst heavy wooden-frame chairs are Spanish-colonial in style. The two dining cars have large windows and a changing set-up of linen runners and full tablecloths. Deep leather chairs speak of leisurely à la carte dining serving up regional specialties such as quinoa, ceviche and even llama. Muza Lab replaced the former wooden separating panels with macramé screening to open up the spaces and add texture, whilst also referencing local knotting and weaving skills.
Medway Reading Light Brass and Brown Leather WA0313.BR
VAUGHAN 020 7349 4602 vaughandesigns.com
Carriages 11 sleeper cars, 48 berths F&B 2 restaurants, 1 bar Leisure Spa
A small porportion of the FF&E comes from international names such as Brintons, Vaughan and Restoration Hardware, but the vast majority has been sourced locally in Peru, from marble, timber flooring and wallcoverings to roman blinds and loose furniture. Muza Lab designed the brass key fobs and the train’s crest based on the Chakana Cross, an Inca shamanic symbol, while artwork was commissioned from students in Lima. The perfect imperfection of the many artisanal elements aboard Belmond Andean Explorer give a rare sense of cultural connection. At 305-metres long, the train is impressive in its deep teal blue PeruRail livery. Platforms are non-existent so viewed from trackside each carriage is intimidating, the rolling stock up close and personal. The train comprises 16 carriages plus one for electrical power and another housing the engine. The new, more powerful single engine has recently been brought into service, freeing up a second car that has been transformed into a spa with three treatment rooms. Towards the front of the train are two carriages for staff. For Cusco-born Train Supervisor Arnaldo Ponce de León de la Cruz, there are multiple challenges to operating a luxury service in such a remote region, particularly when it comes to
supplies and housekeeping. Of the few towns en route, none look to have Belmond-standard supplies readily available. There is no laundry on board so the ‘invisible’ housekeeping team of four need to have sufficient towels and linens to cover all eventualities. Similarly, in the kitchen, with its carefully planned layout, some 40 guests requires provisioning for 60. Kitchen and waiting staff can vary in number between seven and nine depending on occupancy but when it comes to safety and reliability there are no short-cuts. There are always four security personnel and no less than five technical/engineering staff. All staff are competent in first aid and the train has its own nurse – a reminder of the route’s relative remoteness. With occupancy for the first seven months of operation running at 80% things are looking healthy for the venture. Muza Lab has created a calming cocoon which overcomes the tricky vestiges of a former pastiche interior. The restrained approach is far from minimal – it’s sumptuously luxurious – yet allows the stunning landscape to do the talking. Passengers will be hard pressed to take their eyes off the constantly changing view but when they do, the interiors are an intelligent part of one the country’s most memorable travel experiences.
BELMOND BRITISH PULLMAN Axminster Carpets were proud to have been involved in the recent renovation of the Belmond British Pullman, a luxury train operating around the British countryside.
We were extremely impressed and grateful for the technical and design support we received from Axminster. They were accommodating, flexible and responsive throughout the process whilst being highly knowledgeable about the specific challenges of manufacturing flooring for railway carriages to meet modern standards.
Alex Duncan, Design Director at JPA Design
All transport carpet enquiries to be directed to: Graham Fellows European Transport Sector Manager E: email@example.com
ÂŠ belmond/helen cathcart
CHANGING LANES With cruise operators increasingly turning to hotel designers to create their vessels, Starboard asks those behind a new era of ships how land-based hospitality translates to the high-seas. Words Kristofer Thomas
THE PANEL Terry McGillicuddy Director, Richmond International Projects Britannia – P&O Cruises
Nathan Hutchins Founder, Muza Lab Projects Pivoine and Lilas – Belmond
Elizabeth Lane Partner, RPW Design Projects Arcadia and Oceana – P&O Cruises
James Dilley Director, Jestico + Whiles Projects Iona – P&O Cruises
Paul Priestman Director, PriestmanGoode Clients Airbus, TFL, United Airlines
n its evolution from people-carrying mode of transport to veritable oceancrawling city, the cruise ship has become something akin to a moving hotel, providing guests with casinos, restaurants, nightclubs, terrace decks and staterooms, as part of an experience closer to a week at a resort than a transatlantic crossing. Having drawn content and hospitality influences from their static brethren, the medium has now suitably turned to those with experience in hotel design to ensure that its ships are instilled with all the elements guests seek out on land – comfort, luxury, visually coherent schemes – and to further replicate the ability of contemporary hotels to feel like much more than just accommodation. The role of the hospitality designer has, as such, produced a thematic, aesthetic and experiential link between the two mediums, with the presence of hotel designers through this era of change arguably a key catalyst for much of what is on board now. In conversation with a number of leading hotel design practices who are bringing their expertise to the world of luxury travel, Starboard asks what one medium can learn from the other, which of their skills has proved most valuable, and what guests can expect from this new iteration of hospitality. With a plethora of international projects under their belts including cruise liners, river barges, sleeper trains and land-based vehicles, the panel boasts a wealth of design talent. But which of their skills developed in the creation of hotels translated best to the high seas? Terry McGillicuddy: We are used to responding to creative project briefs and understand the aspirations of the cruise ship client, enabling us to create exciting passenger experiences, focus, drama and ambience within our interior spaces. Our experience in architectural, structural and planning design helps us to understand the importance of passenger circulation and flow throughout the ship, and to appreciate the limitations of shipbuilding and construction. Elizabeth Lane: All the skills that we use in hotel design are directly relevant to cruise ship projects. Guests expect a beautiful and comfortable environment to enhance their trip and operators expect a design that meets their needs, whether the hotel happens to be floating or static. With ship work however, there are unique, technical and logistical considerations to factor in.
Â© Steve Dunlop
“While the approach to each space is quite different and full of surprises individually, the journey has to remain coherent and legible. The ship is a small town, so exploration and discovery are really important.” JAMES DILLEY
Nathan Hutchins: As hospitality designers we have an understanding of the guests and how they inhabit different spaces through day and night; ultimately, supreme comfort is the end goal for design in both hotels and leisure transportation.
unfamiliar environment to tackle, climates that change with each journey and guests who hold existing expectations of what to do and find aboard, not every skill gleaned from hotel design can be translated perfectly to the seas. So what new challenges await those designers crossing over?
James Dilley: While the approach to each space is quite different and full of surprises individually, the journey has to remain coherent and legible. The ship is a small town, so exploration and discovery are really important.
TM: We had to develop an appreciation for the limitations of the ship in terms of space constrictions and minimal ceiling heights, designing the interiors around such issues. Material specification was also a challenge as there are restrictions on weight, as well as strict marine international standards and fire regulations; therefore the selection of materials is vital and very different to land-based projects. The constant vibration of the ship’s engines is also a major challenge, as all suspended items need to be specially designed and manufactured to be securely supported.
Having designed extensively for guests on land with projects including Four Seasons Hotel Moscow and The Langham London, Richmond International was enlisted by P&O Cruises to create an interior scheme for the operator’s largest ship thus far – Britannia. Applying decades of experience within the medium of hotels, and approaching the task from many of the same angles, the result is a vessel that incorporates elements of P&O’s heritage alongside accents that resonate with the operator’s loyal base of customers. A three-tier atrium was designed in the mould of a hotel lobby, and could easily slot into many landlocked projects as a grand introductory statement, bringing together restaurants, cafés, bars and a sizeable lighting installation that spans all three decks. Similarly, Britannia’s 1,800 cabins have been designed with the flair of luxury guestrooms, with Richmond’s reimagining of their layout affording each space its own identity, an important feature for travellers seeking out unique experiences whilst offering returning guests a degree of variety. Richmond’s history in the luxury hotel sector no doubt played a large role in the design; the vessel takes on an elegant atmosphere not dissimilar to that of the studio’s city-based projects. However, with an
NH: The interiors of transportation vessels have to be practical and purposeful. We are designing within fixed and constrained parameters, so everything has to have its place and nothing should be superfluous to either need or narrative. EL: Unlike hotel deadlines, which usually slip and slip, a ship refit deadline is set in stone. There’s a window in a shipyard when the ship is in a dry dock and that’s when all the major work takes place. Everything has to be lined up and ready. All teams have to be incredibly focused. JD: The exciting point is that the ship owners and operators are increasingly delivering a variety of experiences for their guests. There is an understanding that there is no room for generic or universal interiors. The design needs to help shape the brand in new and exciting ways, and vice versa.
Arcadia | RPW Design | Parrott Photography
“Taking a boat journey is about the experience of the journey itself, rather than the final destination. It is about the joy of slow travel, which enables people to relax and find rejuvenation in a complete alternative to their everyday lives.” NATHAN HUTCHINS
Undertaking the refit of P&O Cruises’ Arcadia and Oceana vessels, RPW Design looked to its portfolio of completed projects for hotel brands including Hyatt, Mandarin Oriental and Aloft for guidance in modernising the ships. The two were approached from different design angles for aesthetic profiles that honour P&O’s identity whilst taking the experience in separate directions. Arcadia was upgraded to include new entertainment and dining venues including the Aquarius Pool & Bar at the stern and a cocktail and champagne bar on the deck, whilst Oceana’s plaza buffet was given a makeover with new carpets, tiling and banquette seating. With guests unable to leave the ship for the duration of the journey, entertainment and F&B venues have become increasingly vital, especially in the context of incoming millennial guests and a shift towards experiential hospitality offers. Where hotel guests have the option of taking a stroll round the neighbourhood and ducking out to a local restaurant, sailors must be considered differently, and – despite budget, design and concept – kept entertained within the boundaries of the ship. How, then, to make a captive audience feel less captured? JD: People live in a different way on board a ship and have very high expectations, particularly in how they eat and drink and in their desire for choice. They’re on board for days at a time, so there has to be identifiable differences between restaurants both in terms of the offer and of the environment, much more so than in a static hotel. EL: Where sometimes it is important for a hotel to have a certain level of continuity throughout the property, in cruise ships there is more impetus on having spaces with their own identities. Us as designers need to ensure that these identities are carried throughout every level of design to meet the operator’s brand for each space. This way guests have a more enriched and varied stay while on long trips. TM: The easy facilitation of large passenger numbers is key throughout the ship, and it is essential to ensure that
circulation is carefully addressed. The entertainment programme also plays a huge part in this, and is vital to aiding passenger movement. A larger percentage of entertainment and F&B venues are needed, therefore creativity and versatility of design to stimulate guests is important to create a variety of personal experiences utilising lighting, textures pattern and colour. NH: Taking a boat journey is about the experience of the journey itself, rather than the final destination. It is about the joy of slow travel, which enables people to relax and find rejuvenation in a complete alternative to their everyday lives. In the case of Belmond Pivoine for instance, the cruising pace along the French canals provided the ideal opportunity to kindle an intense connection with the living, breathing natural world through which the barge passes. Whilst previous experience in hotel design can certainly come in handy when creating the 100,000 tonne beasts that roam the oceans, many of the skills inherent to hospitality design can also be translated into more compact vessels, or different modes of transport entirely. When designing Belmond Pivoine and Lilas – two luxury barges that crawl a route of French canals – Nathan Hutchins and Inge Moore of Muza Lab applied an intimate knowledge of hotel interiors, resulting in something close to a cluster of floating suites, each featuring four bedrooms, a dining deck and a swimming pool. Large windows and a palette informed by the flowers from which each barge takes its name – peonies and lilacs – contribute to a biophilic aesthetic, whilst restrictions presented by the conversion of two grain shipping hulls resulted in a variety of unique floor plans and layouts. Inspired by the tendency of hotels to reflect local culture through design, Moore and Hutchins chose to include touches of colour drawn from the landscape. However, with larger sea-faring vessels often seeing nothing but horizon for days on end, this raises an interesting issue regarding place; how to channel local ideas and aesthetics without a consistent, or even visible, locale.
© Mark Bolton Photography
EL: Even though ships tend to move around different countries and oceans, the itinerary of the ship is usually set for a few years at a time. This way we can bring small details into the spaces that reference culture from some of those locations. For example, on the refit for P&O Arcadia, we developed an intricate carpet design for the main atrium space, subtly incorporating patterns that reference local crafts of many of the countries visited, creating a patchwork of the ship’s itinerary. NH: Generally speaking, a moving vessel needs to have its own personality, making it intrinsically meaningful, but without overwhelming the character of the landscape it is travelling through. TM: The overall narrative for the project is important, but this should not develop into a theme park solution. Cruise ships are at sea for the majority of the passenger’s trip and therefore the design experiences should always be focused on the sea and the movement of the water. A cruise experience is a slower living pace and interiors reflect this with calmer, comforting and residential design, colours, textures and ambiences creating aspirational spaces, unique experiences and memories.
JD: The locale is of course the sea, and the sea has been respected and referenced throughout our work on Iona, to the point where P&O Cruises’ strapline “the sea is the star” has become the ultimate driver for all our design – the best example of which is in the heart of the ship, the Grand Atrium, which has triple-height windows with unobstructed, ever-changing panoramic views of the sea.
P&O Arcadia features an intricate carpet design in the main atrium space, subtly incorporating patterns that reference local crafts of the countries visited
Jestico + Whiles, entered the sector with the design of P&O’s forthcoming 5,200-capacity Iona, kicking off its work in cruise ships during a period of immense change for the medium. The new generation of cruise ship guests are the most connected thus far, with new expectations and desires to consider. As such, Jestico + Whiles has undertaken the design from an angle of immersive variety. Early renderings suggest that entertainment venues such as sophisticated wine bar The Glass House, The Keel & Cow gastro pub, and the casual Emerald Bar will each take on disparate forms to generate a wider range of options for guests, not only in terms of menu and aesthetic style, but atmosphere too. If guests cannot leave the ship, then perhaps they can be directed to feel like they’re experiencing several different offers in the confines of one vessel. This has long been a tactic employed by hotels, but in the context of the cruise industry it could prove invaluable.
“Consumer expectation has changed greatly over the past ten years and we are now seeing transport environments – particularly in aviation – influenced by trends in hotel and domestic design.” PAUL PRIESTMAN
With the design, execution and experiential offer of contemporary cruise ships evolving rapidly, taking cues from a hotel industry similarly pushing into new and disruptive territories along the way, the future seems bright for the sector. However, this progression of form and function is not only limited to the seas. As China’s Belt and Road Initiative rolls on, generating both new trade and leisure routes, the world as we know it will become more physically connected than ever before, with modes of existing transport such as trains and planes adjusting their offer and designs to welcome new travellers with new expectations, whilst innovative undertakings such as Elon Musk’s proposed Hyperloop will require entirely new aesthetic perspectives once normalised, democratised and widely available. With these progressions looming on the horizon, there are number of design companies specialising in hospitality transport that have seen a rise in demand for their services thanks to a changing society. Paul Priestman: “Consumer expectation has changed greatly over the past ten years and we are now seeing transport environments – particularly in aviation – influenced by trends in hotel and domestic design. This has allowed transport environments to become more focused on passenger needs, moving the aesthetic away from the industrial plastic shells of the aircraft cabin to one more associated with comfort and service. The perennial condition of modern times is that everyone is too busy, therefore the greatest gift to the guest is an environment where they can enjoy the space to gain back some time to themselves.”
Priestman, Chairman of transport design specialist PriestmanGoode, whose projects include the Airspace for Airbus, B787 livery and cabin interiors for El Al Airlines, and carriages for Austrian Federal Railways’ Intercity and Nightjet trains, is ideally positioned at the forefront of contemporary transport design, with the firm having also recently created a series of initial design concepts to serve the Hyperloop technology. PP: One of the things I enjoy most about transport design is that you’re creating designs that need to stand the test of time. Many technologies that will influence the passenger experience haven’t even been thought of yet so when designing a train that will be in service for 20 to 30 years, you need to create a shell which can be adapted and updated to whatever technologies will come to the market. At its core, transport design serves much of the same purpose as hotel design. Guests expect comfort in unfamiliar surroundings, and a design that considers their presence and enjoyment of the journey just as much as it does pleasing aesthetics. A hotel can break ground visually and offer its guests moments of optic wonder aplenty, but if the bed is uncomfortable then much of that work is undermined. The new wave of hotel designers crossing into the transport industry perhaps signals not only a new way of approaching the medium, but a shift in the perspective of transport at large. No longer a means of getting from A to B, cruise ships, barges, planes, trains, as well as those modes not yet launched, are placing experience at the heart of the offer.
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Verandah Restaurant, Queen Mary 2
Queen Mary 2
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Seatrade Cruise Med 19-20 SEPTEMBER 2018 Seatrade Cruise Med – the world’s largest cruise industry event for the Mediterranean and its adjoining seas – is set to take place in Lisbon in September, with this year’s edition forming part of the recently announced Portugal Shipping Week. Hosted by the Port of Lisbon Authority and supported by MedCruise and Cruise Lines International Association (CLIA), the two-day event will feature exhibition and networking elements, as well as a conference programme examining the trends impacting the regional cruise industry. Beginning with a market update from CLIA, the schedule includes a look at the opportunities presented by new destinations, and the challenges of meeting future demand. Over 2,000 professionals from across the region are expected to attend, representing ports and destinations, tourism authorities, cruise associations and tour operators, along with decision-makers from the world’s leading cruise lines including Carnival UK, Norwegian Cruise Line, Royal Caribbean International, Silversea, TUI and Viking Ocean Cruises. Companies supplying fit-out products and technical equipment to the industry will also be in attendance. Seatrade Cruise Med covers all aspects of the cruise industry including shipbuilding, valued at US$57.3bn globally. “The passenger shipbuild and repair sector is currently undergoing a remarkable period of expansion
across the Mediterranean,” comments Emma Howell, Global Marketing Manager, Seatrade Cruise Med. “As demand for cruise tourism continues to rise, so do the opportunities for regional shipyards – with local yards accounting for just under a third of all refits in 2017.” Airam Diaz Pastor, President of MedCruise – which represents over 20% of the global cruise traffic with more than 100 members – adds: “25.9 million passenger movements were handled by MedCruise ports in 2017 with 28 million forecast for 2018. Together, we face the new challenges that the cruise sector is facing, including new buildings, the development of port facilities, the expansion of emerging source markets, as well as new regulations, and environmental and energy related issues. Events such as Seatrade Cruise Med present a platform to discuss these challenges and opportunities and we welcome this event in September as a crucial arena for discussion.” Other events in the portfolio include Seatrade Cruise Asia Pacific, taking place in Shanghai from 23-25 October 2018, and Seatrade Cruise Global, which will return to Miami Beach Convention Centre from 8-11 April 2019. www.seatradecruiseevents.com/med
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CRUISE SHIP INTERIORS E X P O
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Members of the advisory board include (clockwise from top left) George Scammell, Holland America Group, Princess Cruises; Gary Annett, MJM Group; Fredrik Johansson, Tillberg Design of Sweden; Jacco van Overbeek, Bolidt; Anne Mari Gullikstad, YSA Design; Greg Walton, Studio Dado; and Andrew Yuill, SMC Design
Cruise Ship Interiors Expo 18-20 JUNE 2019 A new event dedicated to the cruise ship design sector has been announced by UK-based trade show organiser Elite Exhibitions. Set to dock in Miami in June 2019, Cruise Ship Interiors Expo is expected to welcome more than 2,000 operators, shipyards, outfitters, architects and interior design teams to meet with the entire supply chain working within the cruise refurbishment, newbuild and overhaul markets. More than 150 suppliers will showcase products and services catering specifically to the sector, from manufacturers of floorcoverings, decking, furniture, sanitaryware, fabrics and soft furnishings, as well as turnkey solution providers and design specialists. With 70% of the show floor already sold, exhibitors include Trimline, Berenblum Busch Architects, Bolidt, MJM Group, Chelsom, Elmo Leather, Forbo Flooring Systems, Brintons, Bez Marine, Sekers, Konrad Hornschuch, Studio Dado and Tillberg Design of Sweden. Cruise Ship Interiors Expo will take place at the brand new, state-of-the-art hall at Miami Beach Convention Center, located close to operators such as Norwegian Cruise Line, Virgin Voyages and Carnival Cruise Line. Petu Kummala, Director of Interior Design at Carnival, comments: “Cruise Ship Interiors Expo is an exciting and needed addition to the cruise industry’s design and architecture sector and will provide a source for designers and suppliers to connect,
exchange ideas and see the latest products that can be used on future projects.” The event will open with an evening networking reception, while a conference designed to inspire, educate and challenge visitors through insightful and thought-provoking discussions will run across the two days. To curate the programme, Elite Exhibitions is working with an advisory board featuring a stellar line-up of leading figures. They include: Petu Kummala, Director of Interior & Architectural Design, Carnival; Jeffrey L. Parns, Director of Architectural Design, New Build, Norwegian Cruise Lines; Gary Annett, CEO, MJM Group; Anne Mari Gullikstad, CEO, YSA Design; Fredrik Johansson, Owner and Executive Project Director, Tillberg Design of Sweden; George Scammell, Director of Interior Design & Operations, Holland America Group, Princess Cruises; Jacco van Overbeek, Director Maritime Division, Bolidt; Greg Walton, CEO and Founding Partner, Studio Dado; and Andrew Yuill, Director, SMC Design. For further information or to enquire about exhibition space, please contact firstname.lastname@example.org. www.cruiseshipinteriors-expo.com
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19 - 20 September 2018 FIL - Lisbon Exhibition and Congress Center Lisbon, Portugal
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“The art collection on Seabourn Encore is a holistic and intrinsic component of the ship’s design... Art is an important element of the design experience, especially in places where guests stay for an extended period of time. Sophisticated travellers expect to engage with their surroundings in an intellectual and meaningful way.” ADAM TIHANY
MATERIAL WORLD Adhering to the cruise sectorâ€™s uncompromising requirements whilst looking good in the process, manufacturers are creating marine-specific materials to tackle the rigours of luxury at sea. Words Kristofer Thomas
esigning a cruise ship is as much a technical feat of precise science as it is a creative expression of artistry. Parallel to composing a compelling set of furnishings, accents and details, the designers behind cruise liners must also consider whether these components will perhaps catch alight and act as kindling, or take the ship over its carefully calculated weight allowances, or quickly degrade from exposure to harsh climates and sea water. Overseen by bodies including the IMO (International Maritime Organisation) and MSC (Maritime Safety Committee) and encompassing everything from the layout of the ship to hull integrity to yarn specifications, conventions and resolutions including SOLAS (Safety of Life at Sea) USPH (US Public Health) and MARPOL – a convention regarding the prevention of pollution from ships – are the bureaucratic underpinning of the practice, responsible for creating a safe environment for guests and staff alike. For a ship to take to the ocean, everything from vital mechanical components to inconspicuous furnishings must first meet these standards. In response, manufacturers are taking steps to make the process easier for cruise line designers, producing surfaces and materials readymade for marine environments, meeting the high standards set by regulation bodies whilst offering marine-specific bonus elements that improve life on board. From parasols to decking, these materials can be deployed safe in the knowledge that they have been created to tackle the many issues and limitations presented to ship designers, whilst also operating within the internationally adopted codex of stringent regulation and safety abbreviations.
INSIDE JOB With passenger routes through vessels experiencing concentrated footfall day and night, carpets aboard cruise ships see a lifetime of activity in the space of a few voyages. As such, the durability of corridor flooring can make or break a scheme. Desso’s Tide tufted carpet, as well as complying with all IMO standards in its material composition, brings together robust multi-level fabric loops with a nautical-themed wave design for a structure that offers both aesthetic relevance and the necessary toughness to withstand life at
sea. Further, the colour mixes used in Tide are produced with 100% Econyl yarn, a regenerated nylon made in part from waste fishnets that would otherwise litter the oceans. In cabins, meanwhile, the brand’s AirMaster carpet helps to improve air quality by trapping fine dust particles and creating a healthier living climate for all. Similarly, in addition to supporting designers with a database of procedural documentation relating to fire compliancy certifications, Trevira’s dedicated marine certified fabrics – including drapes, roller blinds, bedding and upholstery – are designed to be resistant to salt water and damp that might find their way in with the movement of guests. Offering products that are permanently fire resistant without any additional finishing agent, the brand creates these materials so that they can be deployed immediately, without any additional worries regarding their certification suitability. For designers working to deadlines as equally strict as the bodies that govern ship safety, this streamlined process can prove invaluable. Elsewhere, Agua Fabrics’ Nova comes with multiple certificates including Hydrostatic Head standards – a measurement of water resistance – whilst Sekers Fabrics, which has provided IMOcertified wares for over forty years, ensure that products can be deployed at sea as efficiently as they are within hotels, offering easy-to-clean and fire-retardant options as standard. Working extensively in the marine sector on projects such as Cunard’s Queen Mary II, P&O’s Arcadia and Crystal Cruises’ Crystal Symphony, Brintons regularly translates its attractive designs to suit riverboats, cruise liners, ferries and other offshore installations, all of which bear the Wheelmark insignia that confirms both IMO and SOLAS approval. For entranceways meanwhile, where the elements often find their way into a ship, Forbo Flooring has designed Coral Marine FR, a cut-pile floorcovering comprising 60% wool and 40% polyaminde that works to absorb moisture and remove dry soiling, storing up to 95% of both. Designed specifically for these liminal spaces, the range seeks to contribute to the aesthetic scheme whilst also minimising the chance of accidents such as slipping.
A LIFE OUTDOORS For the exterior portion of vessels, material suitability is a thoroughly different story. Where indoors the climate can be predicted and controlled, a storm is less relenting, and both decking
Desso’s Tide tufted carpet brings together multi-level fabric loops with a nautical-themed wave design
and furnishings can regularly be exposed to extreme weather and beatings from salty sea air. Leather trim in particular can become an issue in this scenario. When saltwater coats traditional leather and dries, it can warp the surface beyond repair, and so marine grade leather must be resistant to both the spray kicked up by a ship’s movement and the saltwater particles that silently attach themselves to guests. Suitable for both interior and exterior marine use, faux leathers by Spradling seek to combat this degradation by incorporating a topcoat of Permablok3, a solution engineered to resist germ absorption, abrasions and stains, extending the lifespan of the material without sacrificing any visual attributes. Decking faces similar issues. With very little to zero natural wood permitted on board in case of fire, designers must consider synthetic alternatives that can withstand both Arctic snow and blistering Caribbean heat. Hakwood’s Duoplank is one potential solution, an engineered product that features a conditioned top layer to reduce the effects of humidity – the planks shrinking and growing out of proportion otherwise, taking on and shedding moisture as the vessel moves through climates. Providing dimensional stability along with a wide variety of textures, colour finishes and cuts, Duoplank is well prepared for the effects of both human and natural damage. Likewise, Promat’s Promodamp flooring material – as well as being completely fire-retardant – functions to negate the vibrations of the ship, an element that allows guests to sleep through an engine’s incessant humming but that largely goes unnoticed. Promat’s parent
company, Etex, works towards similar goals, employing advance yarn technology for its marine fabrics, with the entire 2018 range water repellent, stain resistant, pre-shrunk and machine washable to adapt to a spectrum of unpredictable exterior environments. Lastly, as one of the most exposed elements of a ship’s deck, parasols take a prominent role in outdoor design schemes, but must also withstand the weather whilst retaining the defining aesthetic features for which they were chosen. Stability too, is a key factor, with designers having to factor in the motion of the boat, the waves and wind to ensure a gust does not send a flock of parasols soaring into the air. Containing performance technology including high UPF and UV resistance, Sunbrella’s marine collection seeks to combat all three scenarios, with the canvas range available in 21 colours that remain vibrant despite near-constant service on the frontlines whilst standing firm. As operators expand their ports of call, venturing further into remote corners of ocean and river alike to offer guests new experiences, these marine-specific fabrics will remain key for designers. Guests expect both their safety and comfort to be considered throughout the process, and with early hints of climate change also looking to raise the temperature on these pieces, the pressure will be greater than ever to create innovative, adaptable and aesthetic new materials to improve life at sea. Aboard cruise ships, looking good is only half the job. When traversing the unpredictable seven seas, balancing life-saving function with ontrend form is the real achievement.
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Laufen SPACE With cruise ship designers facing both technical and formal issues when creating bathroom spaces, Laufen has introduced several innovations to transfer a luxury boutique aesthetic from land to sea, addressing potential manufacturing, maintenance and economic stumbling blocks along the way. Bathroom challenges in the context of ships include limited cabin space, stringent weight restrictions and the stylistic task of integrating it all within a coherent scheme. Tackling spatial and layout obstacles, the Laufen Space range of washbasins and toilets incorporates ultrathin walls in the brandâ€™s own SaphirKeramik material, offering the same amount of wash area without the outspread ceramic walls of traditional washbasins, and allowing for more versatile models that refrain from occupying too much space. Likewise, a series of bespoke basin, counter, shower and bath solutions are available in similarly robust materials Sentec and Marbod, affording designers specific solutions for these spaces. Elsewhere, adhering to the unique drainage systems of a cruise liner, the Vacuum toilet features a buffer that allows the flush to operate even if the vacuum system is down, whilst also weighing 25% less than comparable units. www.laufen.com
BELMOND GRAND HIBERNIAN
Original BTC has created a series of bespoke lighting solutions for Belmond Grand Hibernian, a luxury train traversing Ireland’s coastline. Comprising elegant private cabins for up to 40 guests as well as a selection of grand suites, an observation car and the Dublin saloon bar amongst other amenities, the service enlisted the British brand to create a lighting scheme for its cabins and communal areas. Supplying approximately 230 lights including desk, bedside and wall variations, Original BTC combined handblown clear and opal glass with spun metals and quilted bone china for a mix of modern luxury and traditional aesthetics. Designed specifically to withstand close proximity to passengers and the vibrations of the train, the scheme also included the brand’s own Beadlight Vortex wall model. www.originalbtc.com
The Barcelona chair from UHS Group is designed in a classic bentwood style, while the shape of its back is specially crafted to fit the curves of the spine for maximum comfort. The range – which forms part of the furniture manufacturer’s Studio collection – is also customisable in frame and upholstery and suitable for cruise ships, hotels and lounge areas. “Our passion for design and a keen interest in the hospitality industry has helped gather together a diverse range of products suitable for any space where comfort away from home is required,” says the group. “Our Italian team is currently working with MSC Cruises on several new designs, and we also have a rapidly growing product range with an ongoing development programme suited to the fast-moving design trends of the hospitality industry.” www.uhs-group.com
Kalisher SYMPHONY OF THE SEAS Global hospitality artwork curator Kalisher has worked with Royal Caribbean to create the arts programme for Symphony of the Seas, the cruise line’s newest Oasis-class vessel. Made up of 13,347 contemporary works from text-based pieces to multimedia installations, the art collection on board embodies the theme ‘The Wonder of Our World, a Journey into the Unimaginable’. The studio aimed to express both peacefulness and celebration across the ship, opting for wavelike botanicals on the headboards, complemented by bold black and white prints on aluminum. Having previously worked on the Symphony’s sister ship Harmony of the Seas, Kalisher also injected the crew area with an electric aesthetic, interlacing bursts of colour with nautical elements. www.kalisher.com
Brintons has supplied carpets to Crystal Symphony as part of its multimillion-pound redesign, collaborating with London-based firm AD Associates to produce bespoke Axminster designs for two main public areas. Installing approximately 15,000m2 of carpet into the main dining room and the Starlite Club, the British manufacturer used high-contrast colour schemes to create chic décor and a sophisticated ambiance, as well as promoting sociability. Waterside restaurant features a circular motif has been woven into the designs to create a dramatic backdrop for the new contemporary theme; while at Starlite Club, concentric circles have been employed alongside bold geometric designs to update the space and harmonise with the existing interior architecture. Refurbished to incorporate new dining concepts and open seating, Crystal Symphony provides passengers with more space and comfort than ever before, while a key focus has also been placed on highlighting panoramic sea views. Brintons has extensive experience in supplying carpet to the global cruise sector, and has worked on the likes of Cunard’s Queen Mary 2. As the largest supplier of woven Axminster carpets in the world, the company is also able to push the boundaries when working on new spaces, combining its knowledge and expertise in carpet manufacturing with the vision of designers and operators alike. www.brintons.net
Artlink’s art programme aboard Seabourn Encore orbits the theme of ‘a journey of cultural exploration’, and features handmade traditional crafts, photography, custom-made sculptures and video art installations. Selected by Tal Danai of ArtLink in collaboration with New York-based hospitality designer Adam Tihany, the series is displayed throughout the new vessel and comprises 150 works by 50 artists from across the globe including China, London, USA, Brazil and France. “While design gives a space identity, art gives it personality,” notes Tihany. “The art collection on Seabourn Encore is a holistic and intrinsic component of the ship’s design. Where each space flows effortlessly into the next, the selected art creates a sense of personality within each appointed area of the ship. Art is an important element of the design experience, especially in places where guests stay for an extended period of time. Sophisticated travellers expect to engage with their surroundings in an intellectual and meaningful way.” Richard Meadows, President of Seabourn Cruises, adds: “Our guests expect the best from Seabourn, and that includes the ship design and artwork. We’ve worked with Adam and the ArtLink team to bring sophisticated, fresh pieces that will give anyone who travels on Seabourn Encore a reason to wander the ship and appreciate these impressive creations.” www.artlink.com
Working with Crystal Cruises to reimagine the brand’s ocean-going vessels, London-based multidisciplinary design firm AD Associates has overseen the transformation of Crystal Symphony’s pool deck into a welcoming daytime and evening venue. Comprising the existing Trident Grill and ice cream parlour Gelato, along with the newly created, Chineseinspired Silk Kitchen & Bar, the studio’s layering of spaces has seen the former pool deck and its retractable glazed roof updated to suit evolving guest expectations. “Having control over such things as artwork and signage, as well as forging close partnerships with lighting specialists and the careful integration of entertainment equipment, ensures we create spaces that are thoughtful, well integrated and pleasing to be in,” explains Nicola Preece, Design Director at AD Associates.The firm further renovated the 12-deck ship’s Crystal Dining Room, with the space emerging as Waterside, featuring a scheme channelling the chic décor and ambience of Crystal River Cruises’ restaurant of the same name. AD Associates’ work aboard Crystal Symphony marks the latest project in a continuing collaboration between the firm and operator, with the studio previously completing work on Crystal Esprit, Crystal Mozart and river vessels Crystal Bach and Mahler. www.adassociates.london
When designing the centrepiece chandelier for Princess Cruises’ Majestic Princess, a Royal-class vessel ported in Shanghai, Lasvit looked to both the ocean and the operator’s luxurious standards for inspiration. Having previously created similar scale installations for Majestic Princess’ sister ships Royal Princess and Regal Princess, the Czech glassmaker sought to connect the heart of the ship to the surrounding sea. “The design is inspired by a foamy ocean wave and by the pure visual relation between the ship and its environment,” explains Jana Ruzickova, Design Director at Lasvit. “It’s reminiscent of sunny holidays on the beach, where each wave brings joy and excitement. It’s a pleasant, positive wave with a sense of comfort and security, something strongly associated with Princess Cruises.” Featuring a four-metre wave of crystal elements mounted on a polished, stainless steel decorative frame, the installation welcomes guests with delicate sky blues and clear reflections. Comprising handblown organic glass shapes with natural surface textures in light, dark and cobalt blue, the piece channels the motion and aesthetics of the vessel’s route through ocean water. Leon Jakimic, founder and President of Lasvit, adds: “We build on the clear visual similarity between glass and water – organic shapes, bubbles, transparency and fluidity. Glass art and lighting sculptures are subtle reminders of the magnificence of the surrounding natural environment, even as you enter the interior of the vessel. Our contemporary design and traditional craftsmanship add an authentic touch of luxury to the experience.” www.lasvit.com
Chelsom SYMPHONY OF THE SEAS British lighting brand Chelsom has supplied over 600 fittings in 74 designs throughout the public spaces of Royal Carribean’s Symphony of the Seas. Launching this winter, the Oasis-class vessel features a series of the brand’s chandeliers dressed with mouth blown glass spheres and crystal-accented gilded Vintages within Jamie’s restaurant, as well as novel creations including whisks with small, concealed LED lights to illuminate servery. Elsewhere, Chelsom created a large central fitting incorporating illuminated acrylic rods at Sorrento’s restaurant; a collection of elliptical crystal chandeliers with faceted drops for the casino; and mood lighting for the jazz and comedy clubs, the pub and teen lounge. Working to a brief that outlined a coming together of the operator’s creative vision and operational requirements, Chelsom has further installed new technology such as phase dimmers as part of the extensive redesign. All components were modelled to be securely fixed and rattle-free, with the project following Chelsom’s lighting of Symphony of the Sea’s sister, Harmony of the Seas. www.chelsom.co.uk
Style Library Contract
GRAN TURISMO TRANSATLANTIC GTT115 HYBRID
Style Library Contract has worked with London-based design firm AD Associates to outfit Crystal Bach, the first of four Rhine Class vessels from Crystal Cruises. At Waterside, the 110-passenger river yacht’s main dining area, Style Library Contract’s Anthology fabric gives the space a sleek finish with hues of grey and teal, while Anthology Kiyoshi sheer has been selected for the windows and Anthology Veda deep pile velvet is used on the chairs. David McCarthy, Director of Marine Projects, AD Associates, says: “As long-standing interior designers for Crystal Cruises, AD Associates were privileged to curate a number of spaces aboard their first ever newbuild river yachts. Our aim was to create a new level in luxury interiors; selecting the right products has made that possible.” www.stylelibrarycontract.com
Minotti has supplied furniture for the Gran Turismo Transatlantic GTT115 Hybrid superyacht, designed by Italo-Monegasque yacht builder Dynamiq in partnership with Studio F.A Porsche. Launched at the Monaco Yacht Show in September 2017, the 35-metre vessel is one of just seven models, and comprises a living room, dining area, cabin suites and outdoor spaces, each custom-styled with luxurious fabrics and finishes, technology and design elements. Yang sofa and Leslie armchairs in shades of grey accompany Jacob coffee tables in the living room, while in an adjacent dining area, chairs from the Aston collection surround a Morgan table in a tribute to fine dining. Elsewhere, Klasen bar stools line a cocktail bar, while open-air spaces make use of Aston Cord Lounge chairs and a Bellagio Lounge table. www.minotti.com
Sola TWIST Forming part of its Signature collection, Twist from Sola comprises a range of cutlery options from steak knives to demitasse spoons and a sauce ladle, as well as more conventional tableware and dessert pieces. Crafted from 18/10 stainless steel, the series undergoes a process of double hot forging – in which the Dutch manufacturer twists the handles on both sides – to achieve its versatile and contemporary design. Though Sola was founded by M.J Gerritsen in 1922, it was third generation owner Bert Gerritsen who launched the company’s maritime division ten years ago, which has since secured contracts with the likes of Carnival Corporation, Princess Cruises, TUI and Norwegian Cruise Line, as well as recent partnerships with Alaskan Dream Cruises and Disney Cruises. www.sola-cutlery.com
Bali-based furniture manufacturer Warisan has continued its work with Viking Cruises, supplying custom pieces for Viking Orion – the first in a series of five vessels scheduled for delivery by 2023. Under the supervision of Italian shipbuilders Fincantieri, Warisan has produced furniture for a number of Viking ocean ships since 2015, when it announced the launch of its five-strong fleet with Viking Star, Sea, Sky, Sun and Jupiter. Founded by two sailors, Warisan understands the moving environment and harsh conditions of the marine sector, and has used quality craftsmanship to provide durable, timeless pieces for both indoor and outdoor settings. www.warisan.com
Jonathan Charles Hospitality has worked alongside the designers at Enrique Concha & Co to supply and custom-make furniture for the new Ventus Australis expedition cruise ship in Patagonia, Chile. Outfitting the cabin furniture, lounges, game and dining rooms, the brand adapted furnishings to reduce weight and coated the pieces with non-slip and salt-air resistance materials where required. Cabins are inspired by 19th century travel, with a luggage style adopted to channel luxury and comfort whilst complementing the character of an expedition ship. Details including drawer interiors lined with antique nautical maps of Chile, a mixture of brass, marble and wood finishes, and a series of custom tables and curved seating pieces further play into the scheme. www.jc-hospitality.com
Geometric Fabrics BABYLON Geometric Fabrics has launched Babylon, a collection of three designs in an eclectic mix of colours. Focusing on quality design and colour, the Manchester-based company fuses Florence fabric – a classic paisley design – with smaller patterns such as Aspen and Ava. Unveiled alongside Babylon, the Empire series takes cues from ancient architecture, and features three geometric designs; Olympia, Athena and Minos, woven in rich colourways of ruby, emerald and ebony. The materials all achieve a minimum of 40,000 Martindale rubs, and comply with Crib-5 contract standards, as well as being IMO certified. Geometric Fabrics works closely with designers to ensure that their fabrics are suitable for a variety of contract interior projects, from cruise ships and ferries to hotels and corporate venues. www.geometric-fabrics.co.uk
ALL BOOK COVERS
Developed in collaboration with bar and mixology professionals, the latest additions to John Jenkinsâ€™ Atlantic collection include a half martini glass, a coupe Antoinette and a small couprette. Blending 1920s glassware design with a contemporary aesthetic, the Atlantic family has grown to comprise 80 specialist glasses, jugs, carafes, mixers, bitters bottles and stirrers, providing mixologists with a selection of tools to create classic cocktails and bespoke concoctions. John Jenkins has supplied crystal and glass to the hospitality industry since 1901 with the aim of designing and supplying products that are both practical in service and complement wine and table. In recent years, the British manufacturer has launched an assortment of specialist bar glasses, which echo designs from the 1920s as well as more contemporary styles. www.johnjenkins.co.uk
Creating menu designs, packaging and decorative volumes for hospitality projects, All Book Coversâ€™ service takes into consideration the existing identity of spaces and schemes to generate relevant and visually compelling ephemera in a variety of styles. Having previously collaborated with Jean Georges Steakhouse, Art Basel and Continental, ABC offer stylistic options including blind deboss on urethane, three-colour embroidery and gloss UV silk screens. The brand further offers services including branded die cutting, tool making, leather work and foil stamping. www.abc-portfolio.com
Forbo WESTBOND FR Forbo has launched Westbond FR, a collection of low lustre, highly crimped carpet tiles with bulk and resilience. IMO tested, wheelmarked to Marine Equipment Directive and recipient of a Lloyds Registermaritime classification, the 50x50cm tiles create seamless joints and repel surface spills, while Forbo also offers spot replacements if a small area is damaged. With insulation properties that reduce noise, heat loss and condensation, Westbond FR is available in 157 colourways, including 13 new natural references crafted from undyed British wool. Flex design options further allow for two-, three- or four shades from the Westbond Colour series to be the mixed, while customised Westbond Flex tiles are able to marry with specific interiors. www.forbo.co.uk
Cruising by Numbers SYMPHONY OF THE SEAS
t 1,188ft long, it’s taller than the Eiffel Tower standing upright; it weighs more than 17,000 African elephants; and can accommodate a record-breaking 6,680 guests. When Symphony of the Seas – Royal Caribbean International’s new Oasis-class ship – set sail earlier this year, it was the talk of the industry. As the largest cruise ship ever built it features 18 decks, seven distinct neighbourhoods, 24 swimming pools, whirlpools and water slides, a zip-line, ice rink, mini-golf course, two theatres, a casino, and countless more shopping, dining and entertainment options. And while its scale is undoubtedly impressive, what’s more remarkable is the craftsmanship, fit-out and sheer volume of product that goes into creating a vessel of this size. Symphony of the Seas is made up of 500,000 individual parts and took a 4,700-strong workforce three years to build. It features 2,759 staterooms including 188 suites, the most exclusive of which come furnished with a Duxiana mattress and Frette linens. Brintons supplied over 35,000m2 of custom designed Axminster carpet. There’s 13,347 pieces of art on display
– that’s more than the Louvre – with a collection curated by Kalisher. The vessel’s Central Park neighbourhood is landscaped with 20,700 lush tropical plants. And its sports bar is equipped with no less than 31 big-screen TVs. There’s no shortage of options at mealtimes either. The 22 restaurants are kitted out with 5,189 dining chairs and somewhere in the region of 20,000 pieces of cutlery. The supply of comestibles is staggering too. On an average seven night cruise, guests consume 450 cases of champagne, 5,000 dozen fresh eggs, 2,500lbs of fresh salmon and 1,500lbs of coffee – that’s six million coffee beans. There are more than 42 bars and lounges on board stocked with 30 different spirits and 21 mixers. And if there’s a queue at the bar, fear not, because the robotic bartender can muddle, shake, stir and serve two drinks per minute with its bionic arms. Compare the numbers to that of a standard hotel and the value of an FF&E or supply contract becomes apparent. It’s little wonder that manufacturers and suppliers are diving in to the global cruise ship sector feet first.
Marine lighting by Chelsom on board Seven Seas Explorer, Azamara Journey and Crystal Bach
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Starboard is a new publication from the publishers of Sleeper (global hotel design) and Supper (global hotel F&B). It is born out of an inc...