The Inspiring Works of Oppenheim Architecture + Design and Studio MK27

How architects are devising building architecture to reap the benefits that the sunny, humid environment throws at them. We look at the works of Oppenheim Architecture + Design, and Studio MK27.

Credits: Caledonian Somosaguas – Photography: Fernando Guerra; Jungle House – Photography: Fernando Guerra

House on a Dune on Harbour Island, the Bahamas by Oppenheim Architecture + Design

Having evolved beyond its modernist roots, contemporary tropical architecture offers timeless design solutions that work effectively within their context. When first emerged as a style in the early 1930s, Modernism quickly came to define a functional approach of creating pure and clean forms of design that followed a certain aesthetic. As the style spread all over the world, however, its adaptability gave rise to a new way of making architecture, receptive to specific cultural traditions and climatic conditions and combining contemporary forms with locally responsive design considerations, appropriate to their context.

House on a Dune affords spacious living rooms with pared-down design

Today, Tropical Modernism is a version evolved from its mid-century beginnings. Softened and adapted to the tropical conditions, with local materials and techniques better suited to their environment, Tropical Modernism is now sometimes a style, sometimes a term applied liberally across architecture that carries the elements of modernism. It takes cues from its locality and integrates sustainable and passive design elements, often borrowed from local, indigenous architectural forms. Read about this desert lodge in Namibia.

 

Enduring Designs
Aesthetically, it is, in many ways, the inherent timelessness and utility of contemporary tropical design that has made it universally appealing to architects working in hot climates. The style combines simple, clean lines and muted colours with local, low-maintenance materials, woods and stone that have become signature of many vacation and island homes around the world. The look is popular not only in glamorous resorts in Bali, Hawaii, the Maldives but also in private homes that are borrowing design elements from local vernacular traditions and contemporising them for a timeless effect.

Transcending the specific locations, contemporary tropical design can be seen in countries and regions around the world, from Brazil to the United States, to Sri Lanka and Southeast Asia, with unique adaptations based on the specificities of each location contributing to its adaptability around the globe.

Steps leading to Jungle House in Brazil by Studio MK27

In Brazil, for example, Studio MK27 is paving the way in adapting Brazilian Modernist architecture produced between the 1930s and 1970s by architects like Lucio Costa, Oscar Niemeyer and, more recently, Paulo Mendes de Rocha, and creating a dialogue between the early philosophies of the movement and locality-based solutions, adding a dose of Brazilian sensuality to it. “Our architecture is somehow the fruit of this generation of architects, this architecture and this intense modern dialogue, always rethought for current situations,” says Studio MK27’s founder Marcio Kogan. “It is our mission to give continuity to this movement, in a contemporary way. I don’t think this movement will ever die.”

Jungle House – Spacious living room looks out to verdant landscapes

Studio MK27’s projects are, indeed, rooted in their context. The firm’s Jungle House in Brazil is a true extension of the region’s mountainous topography with dense vegetation. The contact points between the building and the slope in which the house sits were shaped to respect the existing land – the structure touches the ground with only two pillars. Another project by Studio MK27 in Madrid, Spain – Caledonian Somosaguas development – incorporates influences of Spanish pueblos into its arrangement to create a residential habitat, where houses are loosely arranged around a web of public spaces, streets, plazas, parks and a pool. The residences are interwoven with each other, while still maintaining the sense of privacy, with sheltered courtyard gardens, walled roof terraces and solid upper storeys.

 

Raw and Timeless 

In the United States, Oppenheim Architecture + Design similarly operates under the philosophy of letting the uniqueness of specific places shine through the firm’s work simple yet profound ways by connecting to the context.  “Architecture should try to give you the possibility of creating the most pleasurable environment in a specific place,” says founder Chad Oppenheim. “So much of what I do is about reconnecting people with nature, helping them focus on analogue instead of digital experiences.”

An aerial view of the precinct of Caledonian Somosaguas development by Studio MK27

For the House on a Dune on Harbour Island in the Bahamas, Oppenheim Architecture took precisely the contextual approach, taking inspiration from the raw yet timeless location to drive the architecture of the private residence to establish a meditative place that sits between a lush tropical landscape and wide oceanfront. The house’s main central space is actually an open breezeway allowing visual connectivity to nature and connections to the main living spaces. The living and dining areas open onto verandas protected from the elements by deep overhangs of the gabled roof, further connecting the house to nature.

A home inside Caledonian Somosaguas development by Studio MK27

Allowing for unique design adaptations to diverse contexts, contemporary tropical architecture has grown up, matured and graduated into a movement in its own right. Deeply rooted in and appreciative of locality, it offers an appropriate response that makes sense in the context of the tropics, utilising the environmental conditions, climate and local influences to create authentic design responses that work best for their location.

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With a net worth of $13.2 billion, Li Shufu, is a Chinese billionaire businessman, and the chairman of Zhejiang Geely Holding Group Co. Ltd. and Volvo Cars.

Chinese billionaire Li Shufu, owner of Geely Automobile, the second largest private automobile manufacturer in China is in talks to merge their engine operations with Swedish car maker Volvo Cars AB, in essence creating China’s first global auto maker.

Li’s global ambitions for Chinese automotive manufacturing goes back as early as 2010 when Geely first bought Volvo from Ford for $1.8 billion and then followed up with a slew of other high profile automotive acquisitions by adding Lotus Cars and a $9 billion stake in Daimler AG to his portfolio and since Jan 2020, announced his intentions on either taking a slice of Aston Martin or having the whole cake.

Billionaire Li Shufu creates China’s First Global Carmaker with Geely Volvo merger of Engine Production units

Volvo languished during the first decade of the aughts as Ford consolidated its US holdings and positions, divesting itself of Land Rover and Jaguar, and leaving Volvo with minimal resources and scant investment. Incidentally, Land Rover and Jaguar flourished after their divestiture, a combination of new design language first initiated by Ford and the willingness of Tata, the new owner to take a hands-off approach in letting veteran executives of both brands run the show.

Li’s track record deal closing and successful management of new business units like Lotus, puts Geely in clear leadership as China’s, if not Asia’s leading carmaker with a balanced consumer portfolio straddling all key segments. Geely Holding Group’s kicked the British brand into high gear in 2019, two years after it acquired a majority stake, by announcing plans to start producing the British sports car brand in China for the first time with the opening of a new 9 billion yuan ($1.3 billion) factory in Wuhan city. While Lotus would still be building supercars out of its Norfolk facility, a joint Geely – Lotus statement revealed that a key part of the firm’s strategy was “to revive the brand by expanding the brand’s manufacturing footprint globally” by targeting new markets by building higher-volume models in China.

Germany-based automotive manufacturer, Daimler, is set to develop its next generation of Smart electric cars in China following a joint venture with Geely. Under the agreement, the next generation of Smart cars are set to be assembled at a Chinese plant, with sales expected to begin in 2022.

The recent Wuhan coronavirus outbreak, now named COVID-19, appears to have put pause to Li’s expansion and acquisition plans. Just before the CCP’s lockdown of the city, shares of British luxury carmaker Aston Martin Lagonda Global Holdings Plc declined last month on Friday 17 January 2020, with insiders commenting that there’s “waning interest” from Li, the rumoured potential Chinese investor to buy a stake.

What Volvo Stands to Gain from Geely

The automotive industry is facing a massive disruption with most of the major car brands, even those previously sworn to the “roaring soundtracks of petroleum engines” as makers move towards electrification, and autonomous vehicles in an environment where ride-sharing, car-hailing apps and increasing peer-to-peer car sharing has been slowing demand for car purchases.

Volvo aims to reach Tesla Motors’ current level of EV sales from a standing start in just five years. Due to the high cost of electric car batteries making it more difficult for automakers to develop affordable zero-emission vehicles, it has led to a number of them forming alliances with Chinese partners.

Volvo’s merging of engine operations with Geely is a vital step in the brand’s roadmap for shifting to a fully-electrified lineup from a costs-of-production perspective, freeing up resources for the Swedish brand to focus on electric platforms in-house. According to Volvo Chief Executive Officer Hakan Samuelsson, combined business units would supply two million diesel and gasoline-powered engines, versus the 600,000 Volvo produces today.

London based business data provider IHS Markit forecasted electric car growth from 2% to 12% of new cars by 2030.  Volvo has medium term objectives of achieving half of its global sales fully electric by 2025. In pursing combined engine production, Volvo gets to pursue in house development of electric gear-trains without sacrificing crucial revenue from existing petrochemical engines vehicles.

Volvo Cars and Geely already share technology, most notably the Compact Modular Architecture (CMA), which is being used by Volvo Cars for its soon-to-be-announced smaller range of 40 series cars and by LYNK & CO.

In the meantime, with Geely, Volvo gains greater access to the largest car market in the world. Concordantly, Volvo’s stellar reputation for safety gets associated with Geely, a major talking and selling point considering that “Made in China” has not had the best reputation, allaying US consumer fears of Chinese-made automobiles.

Volvo managed to sell over 355,000 vehicles globally in the first half of 2019, a 2.5% gain over last year with the China market leading the biggest gains of 15.7% up 37,855 units from 32,712 during the same period in 2018. It will start production next year of the brand’s first fully electric car, a battery-powered XC40 compact crossover.

Hollywood icon Arnold Schwarzenegger was first to own a modified Humvee, pushing for a civilian model which he was amongst the first customers to order.

Li Shufu’s “hidden” objectives and Global Ambitions

Earlier in January 2020, billionaire Li discussed “working together with international partners” to “seize the technological commanding point through collaboration and sharing”, during preliminary discussions about investments in Aston Martin, it would appear that part of his global automotive strategy is the know-how and technology which could benefit his entire portfolio and not just Geely.

That said, Li’s acquisition strategy has been proving the most successful so far, other Chinese carmakers have attempted similar strategies to mixed results –  Sichuan Tengzhong Heavy Industrial Machinery is still struggling with former US commercial sensation, Humvee. The H1 Humvee was a military grade vehicle which first rolled out for civilian markets in 1992 at the behest of Hollywood actor Arnold Schwarzenegger, buying a highly modified sand-coloured edition, before pushing for a consumer model. At its height, it sold 70,000 Hummers, becoming a symbol of wealth and excess but as gas prices spiked to all time highs between 2007 and 2009, the popularity of the car declined.

Shanghai Automotive Industry Corporation, the largest automaker in China, invested $600 million in bankrupt Korean automaker Ssangyong, before giving up in 2010, abandoning management rights over the carmaker, which was suffering from a serious liquidity crisis. A 70% share of SsangYong was acquired by Indian multinational automotive company Mahindra & Mahindra in February 2011. More recently, Beijing Automotive Group bought a 5% stake in Daimler in July 2019 and is considering lifting its holding in the Mercedes-Benz maker to as much as 9.9%.

With Li Shufu’s waning interest in Aston Martin, Bloomberg reported that Canadian billionaire Lawrence Stroll is emerging as the frontrunner to buy a stake in British manufacturer.

Geely launched Lynk & Co, a new luxury SUV aiming to tap the global market for ride-sharing and car-hailing services while taking on giants including Volkswagen AG and BMW AG.

Volvo announced that the merging of business operations to form a new supplier will not see any job cuts – the new unit will employ approximately 3,000 Volvo workers and 5,000 from Geely, across all departments including procurement, information technology and finance, typically the first departments cuts since these resources can be shared.

Li also owns 49.9% of Malaysian automaker Proton but his vision is to ultimately transform the conglomerate into a provider of transport services. Geely has developed and has plans to further expand car-sharing services while investing in alternative public transport options –  VoloCity’s flying taxis and China Aerospace Science and Industry Corp’s own in-house high-speed trains. Ultimately, Geely might just become a global transport solutions provider instead of just a carmaker.

 

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Jeanneau Motor Yacht Face-Off: Leader 33 vs Merry Fisher 1095

PHOTOS: Jean-Jacques Bernier, Jerome Kelagopian, Bertrand Duquenne

A duo of recently-launched motor yacht models by renowned French shipyard Jeanneau, each in the 34-35ft range, are proving very popular dayboat or overnight options in Asia. The boats in question, Leader 33 and Merry Fisher 1095, have more in common than length and an almost 11ft beam, yet some distinct differences might sway a potential owner one way or the other.

The Leader 33’s open design accentuates the sweep of gentle curves from bow to sizeable swim platform

Some in Asia’s yachting circles still wonder if this region will welcome the growing global embrace of outboard engines in power boats under 40ft.

However, several builders are confident that the convenience 
of outboard engine accessibility, more servicing and repair options around the region, and less-perceptible vibration than inboard motors – as well as far fewer decibels than outboards of old – will win hearts here.

Leader, Jeanneau’s high-end sport boat range, has traditionally been one of the brand’s two inboard ranges, with NC, and our review boat had twin Volvo Penta D3-220s inboards and an overall length of 34ft 8in. However, Jeanneau launched twin-outboard versions of both the Leader 30 and 33 in 2019, offering another appealing option.

The Merry Fisher 1095 has an LOA of 34ft 5in, very similar to the Leader 33; the MF1095 (below) can have a separated aft area when the saloon doors are closed

Merry Fisher, like Cap Camarat, is an outboard range and its flagship 1095 was released in 2018, followed by a new flybridge version that was unveiled at the Cannes Yachting Festival last September.

The two Jeanneau models, as seen in Hong Kong, have a couple of notable differences at the outset. As an express boat, the Leader 33 has a few more curves – both inside and out – that accentuate its sportier persona. The Merry Fisher 1095 is not short of pleasing lines, but mostly to give it a slight touch of contemporary aesthetics that both models share.

The most immediate contrast is the Leader’s completely open aft, versus an enclosable one on the Merry Fisher behind the sliding saloon doors.

The cockpits on both the Leader 33 (above) and Merry Fisher 1095 (below) have modular seating, easily adjusted for extra space or a change of direction

Both aft areas have notably generous cushioned seating and easy-to-operate pivoting bench seats that transform into wide padded sunbathing platforms, or can switch direction from being forward-facing to taking in vistas from the stern.

“I think this size is great,” says Mathilde Delfour, Jeanneau’s Asia-Pacific Sales Manager, aboard the Leader 33 as we pull out of Club Marina Cove in Sai Kung under a clear blue sky on mostly calm ocean waters.

“The main deck is like a large platform that’s open to the outside, allowing people to enjoy the boat, so suits entertaining. It could be centred on sunbathing and swimming or for sitting around the table socialising. And you can be under the roof in air-conditioning if it gets too hot. People can also take it out for one or two nights, as it has two cabins and a good galley.”

MULTIPLE CHOICE

The Leader 33 really does feel like it could be a party boat – standard-fitted sunken audio speakers appear throughout the main and lower decks, while a wet bar and basin, opposite the main deck’s extendable table, a metre or so behind the helm, augments a full galley on the lower deck.

The Leader 33’s reversible bench seating can face forwards or aft

Where seating around the extendable table ends midships, a bench backrest can be simply lifted and its direction reversed to face the bow, so this spot can be conveniently used to sit and chat with the helm or to offer a good vantage point for any would-be co-pilot or navigator.

The covered main-deck areas on both boats are showered with natural light from large wraparound windows and ample ceiling skylights, which can be covered to block very bright sunshine or allow privacy. All can be opened to allow for cross-ventilation, when preferred over air-conditioning. This is particularly effective with the Leader, given its open stern.

Helm stations in both boats have simple dashboards – the Leader 33 has retro-style chrome-edged display dials – and seats that can be easily retracted if standing is preferred. The 1095 has a sliding door by the helm, so it’s just a single stride to the starboard side deck.

The Merry Fisher 1095 also has a reversible bench seat, shown facing the feature table

Lawrence Chow of China Pacific, Jeanneau’s distributor in Hong Kong, says: “Our customers love the size of both boats, which move around easily thanks to their bow thrusters.

“We have sold one of each model to first-time owners and they also like the layouts if they have family on board, saying there are enough areas to find their own spaces, and still keep their eye on where children are.”

CLEVER USE OF SPACE AND LIGHT

Storage spaces are ingenious on the lower deck of both the Leader 33 and Merry Fisher 1095. In the bathroom, a sizeable shaving/makeup mirror is completely concealed to seemingly flip out of nowhere.

In the Leader 33, the bed in the master suite shortens to make a cosy lounge area (below)

Both of these models have a spacious shower and WC, plus a signature stylish basin bowl mounted atop a deep counter. Around the ablutions rooms and galleys, every square inch is used for obvious or clever concealed storage. And in both models, optional natural lighting panels abound – used or not by attaching or removing fabric blinds via large popper closures.

Likewise, in both boats, cabins play on adaptable furnishings configured to use all space available for access around beds, and to allow impressive headroom and storage.

In the 1095’s master cabin, an oval-shaped double bed makes good use of the space in the bow, where its curved edges allow ergonomic access around either side and to overhead lockers. The Leader’s master has higher headroom over the foot of its rectangular double bed, which can morph into a lounge, with a hidden pop-up table concealed in its flooring.

The master cabin in the Merry Fisher 1095 is also in the bow

However, the Merry Fisher model may have the edge below decks as it offers the option of two or three cabins, the latter a remarkable achievement on the boat of this size.

Besides the positive response on both the Leader 33 and Merry Fisher 1095 in Hong Kong, Jeanneau’s Southeast Asian dealers also praise the appeal of both.

Nguyen Duc Thuan, President of Vietyacht, says: “These
two boats are suitable in size, reasonably priced and have great performance for the Vietnamese market. Merry Fisher 1095 is in more demand than Leader 33, as it’s a slightly lower price and our clients prefer outboards for operation and maintenance.”

The Merry Fisher 1095’s helm station has side deck access

Vrit Yongsakul, Group Managing Director of Thailand-based Boat Lagoon Yachting, is equally upbeat about the new models.

“Jeanneau hits the right spot when it comes to the Leader 33 and Merry Fisher 1095 and also the NC33,” he says. “They are attractive yachts, great for both beginner and experienced boaters who simply want to go out for the day and enjoy the paradise of Thailand.”

The consensus is that both models are suitable for the region, offering a clever use of space and reliable performance. The main differentiators are that the Leader 33 offers either inboard or outboard engines and an open design, while the Merry Fisher 1095 has the option of a closed saloon and two extra berths in this space.

www.jeanneau.com

The original article appears in Yacht Style Issue 51. Email subscribe@lux-inc.com for print subscription enquiries or subscribe to the Magzter version at: www.magzter.com/SG/Lux-Inc-Media/Yacht-Style/Fashion/

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Sanlorenzo SD96 Luxury Motor Yacht Doubles Up in Asia

Sanlorenzo’s remarkable run of success in Asia just keeps on going. The new SD96 was one of the stars of the last Cannes Yachting Festival, especially as the hull used for the world premiere featured an interior by Patricia Urquiola, marking the renowned Spanish architect and designer’s debut work in the boating world.

Simpson Marine announced sales of the SD96 into Hong Kong and Singapore; Photos: Thomas Pagani

The model received praise and accolades, yet yacht lovers in Asia will get the chance to see the SD96 for themselves in Asia next year as not one but two units have been sold to owners in the region.

Just months after the Cannes show, the Sanlorenzo Asia division at Simpson Marine announced the sales and that the 29m yachts will be delivered in Hong Kong and Singapore in early 2021. Furthermore, the hull heading to Hong Kong will feature an interior by Urquiola.

“The SD96 was our team’s favourite new model at Cannes, impressing with larger volumes and smart connectivity,” said Nick Stratton, Sales Manager for Sanlorenzo Asia.

As the new entry-level model of Sanlorenzo’s semi-displacement yacht line, the SD96 replaces the successful SD92, which sold a remarkable 27 units since its launch in 2007.

The vast main-deck saloon features huge windows and sofas designed by Patricia Urquiola for Cassina

One of Sanlorenzo’s three composite ranges along with the SL and SX, the SD range (96, 112, 126) is designed for long journeys and draws inspiration from the lines of transatlantic yachts of the 1930s.

The two SD96 yachts heading to Asia will join an impressive fleet of SD yachts cruising in the region, with an SD92 and SD122 based in Hong Kong and the flagship SD126 based in Singapore.

“The SD range is very appealing to owners in Asia who wish to cruise longer distances,” Stratton said. “Suddenly journeys once not possible become a reality and there’s a new excitement to owning a yacht.”

URQUIOLA MAKES HER MARK

Bernard Zuccon of Zuccon International was responsible the exterior of the three-deck SD96, one of several models he and the company have designed for the Italian builder.

This forward view of the saloon shows the foldable dining table that can be stored in the bench, which has sliding backrests

However, it was the decision by Sanlorenzo Chairman Massimo Perotti to have Urquiola handle the interiors that gave the model a distinct character, as she followed other interior designers including Dordoni Architetti, ACPV (Antonio Citterio Patricia Viel) and Piero Lissoni, Sanlorenzo’s Art Director since 2018.

“I chose Patricia because I wanted to add a more feminine touch to our interiors,” Perotti said. “She is the most sought-after woman in global design thanks to her ability to combine beauty and comfort.”

Urquiola has spent much of her adult life in Italy and has an office in Milan with about 70 staff. She made her name in residential interiors and joins a relatively small number of female designers in the yachting world, which includes Bernardo’s sister Martina.

Patricia Urquiola on the first Sanlorenzo SD96

Considering the global appeal of her work, Urquiola is certainly among the most famous and her Instagram following (290,000) is even bigger than that of Kelly Hoppen (170,000), the celebrated British designer whose clients have included the Beckhams and who handles the interiors of Pearl yachts.

The exterior of SD96 retains the shape of the forward and lateral windows of the rest of the SD range, but with panes that are visually similar to the hull, due to Urquiola’s choice to apply one-way films to the cabin windows on the lower deck.

Urquiola emphasised several themes in her work on the SD96, including the use of natural colours and textures throughout the yacht, and selected use of blue, such as in the glass panelling in the master cabin, and the sofas and seats on the upper deck.

The owner’s cabin is forward on the main deck

“Our starting point for this collaboration with Sanlorenzo was the sea, a great source of inspiration for the whole development of the concept and therefore the interior of the yacht,” Urquiola said. “The materials, shapes and colours evoke the marine world, creating a flowing and elegant space full of natural colours.”

However, Urquiola’s most significant design stamp is her emphasis on flexibility and modularity, which has enabled many of the rooms and spaces on the yachts to be used in multiple ways.

FLEXIBLE INTERIORS

On hull one, shown in Cannes, the scene is set when boarding the main deck, where a huge, open cockpit has a long sofa aft and a clean deck featuring loose chairs and small tables – set as you wish.

The lower deck features a living room that can convert to an en-suite cabin

Wide doors lead you in the elegant saloon, which has enormous windows along both sides, parquet flooring and cannulated oak- panelled walls in all four corners. The starboard aft corner features a fold-out TV and encloses the crew stairways to the engine room and upper deck.

Urquiola designed the saloon’s light-grey carpet, along with those in the master and guest cabins, while the furniture includes a sofa and several other pieces she designed for Cassina.

Her love of transformability is shown on starboard side, where folding chairs from Gio Ponti face a table that can actually fold up and be stored in the long bench. Furthermore, the bench backrest is able to drop down, allowing guests a clearer view through the window, a view that is also enlarged when a section of the bulwark slides down.

The upper deck features great continuity between the uncovered aft deck and the enclosable skylounge

Forward is the central staircase, which Sanlorenzo always takes great pride in making into a focal point. Made of bronzed steel and wood and enclosed in a travertine shell, it accesses both the upper and lower decks.

Starting starboardside, the hallway leads forward to the master cabin, which starts with the en-suite bathroom on the right and a walk- in wardrobe on the left, while the bedroom is forward and has half- height oak panelling all around.

The forward-facing double bed has a leather head rest, while above it, across the room, is an attractive glass design with a blueish, wavy effect designed to provide continuity with the sea and sky. To port, below the side windows, is a dressing table fixed to the oak panels.

A drop-down television can turn the skylounge into a cinema

The hallway also leads across to a central day head and portside to the galley by Boffi, which accesses the stairs that lead down to an elegant and spacious crew area in the bow.

The central staircase features a beautiful, recessed handrail and leads down the lower deck, where guests are welcomed by a living room to port. Exemplifying Urquiola’s desire for flexibility, the room can be transformed into a twin cabin with en-suite by rearranging the sofas and using sliding panels to enclose the room.

Otherwise, there are three fixed guest cabins, comprising one starboard of the living room and two midships, aft of the hallway.

UPPER DECK SUPREME

The upper deck has a large, open aft area that can be covered by a bimini attached to the hardtop, which reaches about 2m aft of the skylounge. The outdoor area features sofas, stools and a coffee table that can be converted to a dining table, with up to 10 people able to enjoy al fresco meals.

On the upper deck, the open aft area is partly covered by the hardtop

The skylounge can be fully opened aft when the doors are slid and folded away, while there are also fully opening windows on each side. This cosy space is another highlight of Urquiola’s emphasis on transformability, as the area can be used as a living room, dining area or a cinema due to modular furniture.

Forward of the wheelhouse are two comfortable, almost-square seating areas with coffee tables, then seven steps down to a beautifully designed foredeck with two large lounging areas on either side, making the most of what’s often solely a working area.

And the yacht has a further surprise when it’s revealed that the aft garage door is fixed to the starboard steps, which opens up much more storage space for a tender and toys.

The stairs from the upper deck to the foredeck, which Urquiola changed from a working area to a snug guest zone

The yacht is built for comfort and long periods at sea. The hull features a sharp profile and a vertical bow, and comes from the concept of famed French designer Philippe Briand, combined with input from Sanlorenzo’s engineering team.

With the more powerful option of twin 1,380hp MTU engines, the SD96 has a top speed of 20 knots and a cruising speed of 15, while navigating at 10 knots maximises fuel economy and allows for an impressive range of 1,800nm.

Simpson Marine has 12 offices in seven countries and regions around Asia, so provides a strong support network for the growing fleet of Sanlorenzo owners in this area.

The wheelhouse, on the upper deck, features an oak steering wheel

“Imagine cruising to destinations such as Raja Ampat and the Anambas Islands in Indonesia, the Mergui archipelago in Myanmar, or Busuanga and Palawan in the Philippines,” Stratton says.

“With the SD96, it is now possible to explore the region in total comfort. We strongly believe in this model and the SD range, and are sure more sales will follow.”

www.sanlorenzoyacht.com

The original article appears in Yacht Style Issue 51. Email subscribe@lux-inc.com for print subscription enquiries or subscribe to the Magzter version at: www.magzter.com/SG/Lux-Inc-Media/Yacht-Style/Fashion/

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Oriental Shine – Asia’s Architectural Gems To Remember

Winston Churchill said it best: Environmental design matters. It represents our cultural and social identities. It influences our actions, thoughts and feelings. Sometimes, it outlasts generations. When we speak about experience design today, we often mean the digital. In reality, modern lives are still shaped by physical worlds. What we build is updated infrequently, good and bad designs are more permanent.

“First, we shape our buildings, thereafter they shape us.” – Winston Churchill

The most impactful designs are likely to always be the domain of the tangible world, something virtual experiences will struggle to entirely replace. The real world remains our most important design arena, and it’s essential to pay tribute to its most audacious and beautiful creations. Doing so, we raise awareness for their pivotal role in shaping human lives. We picked four stories of standout architectural and interior design creations across this region; one of them being Singapore’s iconic Pearl Bank apartments. Big or small-scale, they reimagine our world as we know it. This makes them driving forces of progress and cultural interpretation.

Peace Oriental Tea House, Bangkok

Peace Oriental Tea House, Bangkok
A contemporary oriental tea house contrasting Bangkok’s high-energy living
Aiming to be ordinary can yield extraordinary experiences. Born to Chinese immigrants in Bangkok, Teerachai Limpaitoon grew up with tea. Every morning, his father would prepare several kinds for the family. For him, it was not love at first sight. He basically had no choice but to drink up. Over time, this repeated exposure turned into appreciation. Graduating as a music engineer, Teerachai enjoys mixing science and art. With tea, it was no different. From music, life led him to monkhood for six months. He realised he wasn’t strong enough to continue. Returning to everyday life, he decided to be the best ordinary person he could be. This is how Peace Oriental Tea House was born.

“A contemporary oriental tea house contrasting Bangkok’s high-energy living”

Founded in Bangkok, the small collection of tea houses started in 2015. Representing oriental tea culture in contemporary Asian design, its timeless interiors are as much an expression of heritage as they are of modern luxury. Patrons enjoy a journey through interesting teas Teerachai procures. Especially their matcha products put it on firmly on the map with foodies in Bangkok and beyond. Today, the brand has become a kind of modern cultural institution. It feels traditional and avant-garde at the same time. Teerachai is currently designing a new outlet in Lumpini with a contemporary Chinese aesthetic, reflecting his own tea journey: Over time, his personal preference circled back to Chinese teas.
Peace Oriental Tea House, 47 Soi Sukhumvit 49/1, Bangkok. https://ift.tt/39wpEok

“Pencil towers” high-rise buildings in Hong Kong. Photography by Simon Zhu.

Pencil Towers, Hong Kong

Hong Kong has always been a special place for me. It’s a vibrant display of urban humanity, an eclectic confluence of cultures, capitalism and art. Contrasting steep slopes, saturated green spaces and ocean with ultra-dense developments even upcountry, Hong Kong’s cityscape is iconic by any standards. This urban identity is marked by Pencil Towers, which emerged in the 1970s as an answer to the downsides of giant composite mixed-use buildings. As the city and real estate prices grew, large buildings became unsuitable and inconvenient.

“A novel approach to public and living space on ultra-condensed Hong Kong Island”

They blocked daylight at street level, which limited their height, and housed a plethora of savoury establishments including night clubs and factories. Smaller developers opted instead for buying two shophouse lots, on which they built narrow skyscrapers with 20 or more stories. Pencil towers with a single or few apartments per floor rose into the sky, and commercial space followed. In decades to come, this architectural answer to the economic and social dynamics of Hong Kong created unique urban patterns of vertical indoor public spaces. Hong Kong’s cityscape is anchored by a patchwork of restaurants, rest areas and connecting bridges well above or beneath the ground level that creates a vertical city. While vertical cities exist primarily in the domain of science fiction, they are a unique reality of life here, and Pencil Towers are foundational to this topography.

Pencil Towers scatter across Central in particular, defining its unique aesthetic.

Capella, Ubud – The Lodge

Capella Ubud, Bali
When Bill Bensley first set foot on Bali in 1984, he found a mystical paradise untouched by mass-market tourism. Capella Ubud is a journey back in time that comes to life in a forward-thinking luxury concept humbly integrated into the rainforest. Bensley’s maximalist style lends his 23-tent glamping adventure a vernacular that pleases artistic souls and teases us to embrace our inner eccentric. Its playful and light-hearted take on Bali’s grim Dutch colonial period is a subtle history lesson to the observant traveller. Sounds of the forest and light permeate the tent day and night.

“A luxe journey to Bali’s early splendours and colonial sacrifices”

Cocooned in creature comforts and surrounded by utterly civilised hospitality, it’s the Bali encounter we’ve all hallucinated about. My favourite memories include the cistern, a pool fashioned entirely of marine-grade steel, private outdoor showers and copper bathtubs, wonderful locally-made Republic of Soap bath amenities and outstanding breakfast. Capella Ubud invites patrons to dream of a mystical young Bali and imagine the thrills of spending day and night in the wilderness. This invigorating deep respect for nature with eclectic man-made details defines the unique beauty of this ultra-luxe dwelling. Conservation is core to this, and a personal passion imbued in Bensley’s work: Capella’s foray into Bali only came to be because he changed the site briefly to an exclusive 23-tent project in total harmony with nature.
Capella Ubud, Jl. RY Dalem, Keliki, Bali. https://ift.tt/3bB3Dq0

Pearl Bank’s iconic horse-shoe design (photo by Fahrul Azmi)

Pearl Bank, Singapore
Completed in 1976 to be the tallest building in Singapore, Pearl Bank Apartments pioneered dense urban living in a landmark structure beloved by many until this day. Perched on a hill, it was a bold, brutalist omen of Singapore’s remarkable rise to become one of the world’s most advanced countries. Locally and regionally, the Pearl’s Hill site and its eponymous structure redefined urban living.

“Many iconic designs across Asia treat us to unique experiences and remind us of another famous saying: The future isn’t something we enter, it’s something we create.” – Leonard Sweet

Architect Tan Cheng Siong’s celebration of urbanity may be bold, but until this day feels purposeful and measured. Ascending the elevation from Outram Park station towards the building resembles a gentle stroll up to a Pagoda. There’s a genuine air of calm about its surrounds. Pearl Bank may not be the most aesthetically pleasing artefact in today’s Chinatown, but it’s hard to imagine the area without it. Redevelopment into a condo attempting to pay tribute to the original design is a controversial, but pragmatic move. Hopefully, it will continue the site’s legacy appropriately. Read about how Singapore is future-proofing its urban planning.
Pearl Bank Apartments, 1 Pearl Bank, Singapore 169016

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What was once a cluster of abandoned homes, barns and cellars amidst a rugged landscape of ancient volcanic remains, is now the Santorini island’s proudest structure. Designed and conceptualized by Greek studio, Kapsimalis Architects, the cliffside Saint Hotel incorporates the Bronze Age’s rich, classic Cycladic aesthetic.

Kapsimalis Architects Transforms Ancient Volcanic Remains into The Saint Hotel

Through the tireless process of restoring and revamping, the Saint Hotel steps downward on a seaside cliff, providing unobstructed views of the island’s volcanic bay on every level. Featuring rooms built snug into the steep hillside, the hotel’s sixteen suites include private terraces with pools and loungers, separated by white concrete walls.

Comprising of a small reception, restaurant, common pool area, spa, hammam, sauna booths, massage rooms, and gym – the hotel spans over six floors with the entrance positioned at the uppermost level and easily accessed on foot, with exterior staircases creating a central path for guests and staff to navigate the space.

Referencing the area’s authentic cubist morphology, Kapsimalis Architects were careful in ensuring the renewed contemporary space blended seamlessly into the surrounding caldera landscape – restoring caves and maintaining the significant motifs of traditional Cycladic design, the architects heavily-incorporated the use of white and a human scale throughout the construction process.

Enhancing the existing contours and terrain of its natural environment, the Saint Hotel is uniform in its minimal, bright white approach. Featuring the slightest touch of gold and green, the hotel’s interior draws an undivided attention to the mesmerizing scenes of outdoor Santorini, whilst providing guests with a great sense of opulence, relaxation, privacy and comfort.

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North American automobile manufacturer, SSC, announced its latest production at the annual Philadelphia Auto Show on 8^th February. Crowned with the Guinness World Record for Fastest Production Car in the World from 2007 to 2010, SSC’s latest creation boasts a top speed of over 300mph.

SSC North America Debuts Its Latest Creation: The 2020 Tuatara Hypercar

Dubbed the 2020 Tuatara, this hypercar is fueled by a 5.8 liter V8 engine equipped with twin turbochargers, pumping out fuel at an estimate 1,750 bhp. Designed by Jason Castriota, the car incorporates a class-leading 0.279 drag coefficient which significantly eliminates the risk of aquaplaning whilst driving at incredibly high speed.

Paired to a CIMA 7 speed transmission, the 2020 Tuatara shifts gear in a matter of milliseconds and is both lightweight and sturdy, featuring a carbon fiber exterior with a robust carbon fiber monocoque secondary layer, fashioned from aerospace-grade carbon fiber in the Pacific Northwest, push-button dihedral doors, plus an immersive user-focused touchscreen infotainment system with various driving modes, tire pressures, complete diagnostics, rear and blind-spot cameras, a Front Lift Mode which raises the nose 1.6 inches whilst traversing obstacles, climate control, and music, amongst a multitude of other components.

While the hypercar has yet to officially go on sale, SSC North America has unveiled plans to produce 100 customized 2020 Tuatara models at the company’s headquarters in Richland, Washington, USA – naming Manhattan Motorcars of New York as its exclusive Northeast United States Authorized Tuatara Dealership.

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