Superyachts Interior design


One upshot ofMartin-Löf’s visits to other yachtswas a determination to create a less busy interior by reducing the clash ofmaterials, textures and colours that are typically used in a large yacht interior. ‘I started by questioning some quite basic things that have been done the sameway for decades,’ he says. The result is a lot less visual clutter and a 30 per cent reduction in joins and


”I started by questioning some quite basic things that have been done the sameway for decades”


connections between different parts of the interior fit-out.Where these are needed, they are exploited for other uses – for example lighting fixtures are set into the joins between headlining panels. Themainsheet tie-rod running


ABOVE: the upper and lower saloons feel connected to each other and the glass coachroof floods the deckhouse with natural light


through the navigation area is disguised with a blackened steel tube aligning with a panel divide. Other defining elements of hiswork


Even the crew’smess is finished inMartin-Löf’s signaturewarmminimalist style


mainsheet traveller runs almost full beambeneath the deck and four primary winches for headsails, code sails and gennakers aremounted on the gunwales, two on each side. ‘The deckhouse is a new and


contemporary concept,’McKeon says. ‘The drive was to keep the profile as low and sleek as possible whilst still allowing a light and airy feel to the interior. This is achieved by the continuous saloon window and largely glass roof which runs the length of the cabin top and


78 SEAHORSE


connects to the saloon doors. The cockpit and saloon spaces will feel connected through the full width glass sliding doors.We have also developed a stylish cockpit enclosure arrangement which connects the dodger and bimini so that the whole cockpit can be enclosed for themore extreme north and south cruising latitudes.’


Rig and sailplan The rig package is a collaboration betweenMcKeon and Southern Spars.


include careful selection of hardware, with hinges, handles and taps in bronze or similar dark treatedmetals, and a two-tone colour palette throughout the yachtwith darkwalnut on the sole and the lower halves of vertical surfaces contrastingwith pale surfaces above. Sinks and showers are clad in limestone veneerwith shadowgaps to give fixed units a free-standing impression, and Japanese rice paper is usedwith strips of solidwalnut to create lanterns set into the corners of interior spaces to


‘We have worked closely with themon several projects to develop high performance rigs whilemaintaining good safetymargins and ease of handling for cruising use,’McKeon says. ‘For this project in particular, the option to fit a square topmainsail and running backstays for future racing was important and allows the best of both worlds. However, with the heavily raked mast spreader arrangement the running backstays are not super critical in a tack or gybe so shorthanded sailing


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