Yachting - - MEGA-YACHT REFIT -


Co. and, be­cause it was Bar­tolomei’s first yacht project, for­mer stew­ardess-turned-de­signer Aran Swart. ¶ Many of the de­tails, though, he han­dled him­self, with a pas­sion for get­ting ev­ery last choice just right. ¶ “A guest on this boat will never see a porce­lain sink,” he says. “It’s all ham­mered nickel sinks and crys­tal faucets. Ev­ery­thing is high-gloss pol­ished nickel hard­ware. The switch plates around the out­lets are all be­ing changed out to brushed-oil brass, art deco style. The tini­est de­tails are all be­ing looked at.” ¶ Some re­con­fig­ur­ing was done, in­clud­ing in the mas­ter state­room, which he says went from be­ing “long and skinny” to “gra­cious and wide” with a spa tub, a mo­saic sole, cus­tom cab­i­nets, Cala­catta mar­ble and “the high­est-qual­ity crys­tal French faucets.” The chair at the mas­ter state­room’s desk was man­u­fac­tured from plans for desk chairs on the Queen Mary. “We are go­ing to have sil­ver ser­vice items on the boat from the SS Nor­mandy,” he says. “The ocean liner, tra­di­tional el­e­gance feel will all be there.” ¶ Even the main-deck day-head re­ceived de­tailed de­sign at­ten­tion, with a cus­tom art deco glass-scal­loped tile sole and il­lu­mi­nated dome crys­tal faucets in a seashell pat­tern. “The tini­est de­tails will make that room a jewel box,” he says. “I’m wor­ried that guests will want to just go into the day-head and stay there.” ¶ Prac­ti­cal choices were part of the Ari­adne re­fit too. A twin-bed state­room now con­verts to a king — a fea­ture that helps with char­ter book­ings — and the sun deck was re­con­fig­ured to shrink work­ing space while adding square footage for guest re­lax­ation. ¶

And once the Bar­caLoungers were gone and new fur­ni­ture was in­stalled in the salon, its over­head was changed so the whole shape of that space would feel bet­ter tai­lored. ¶ “We com­pletely changed the ceil­ing in the salon be­cause it was out of pro­por­tion with the new fur­ni­ture; $30,000 later,” he says, “it looks ter­rific.” ¶ Spa­ces that felt right to him, he left alone struc­turally, chang­ing only the dé­cor within them. And by “felt right,” he means not only the room sizes and lay­outs, but also how he ex­pects to use them while cruis­ing. ¶ “I don’t like hav­ing my din­ing and liv­ing rooms in one area,” he says, think­ing about stan­dard main-deck lay­outs aboard yachts of Ari­adne’s size. “I’m some­what for­mal in that way. When you’re hav­ing cock­tails in­side, I don’t want to see the stew­ardess run­ning sup­plies in and out of the gal­ley. So, one of the things this boat has is a stew­ardess pantry be­tween the salon and the din­ing room. It’s a full, sep­a­rate din­ing room. I think that’s unique: the pri­vacy, the el­e­gance, the grace.” ¶ There is an homage aboard to the orig­i­nal Ari­adne, etched by a Fort Lauderdale glass com­pany into a mir­ror that’s for­ward in the salon. The de­sign, which glows with light­ing around its sides, is based on a statue in an Ital­ian mu­seum that cel­e­brates the Greek god­dess. She’s the wife of the wine god Diony­sus, and she helped the hero Th­e­sus es­cape a labyrinth, for­ever be­com­ing as­so­ci­ated with solv­ing puz­zles and mazes. ¶ To Ari­adne’s owner, that story sounds a lot like shep­herd­ing peo­ple on their course, no mat­ter where they want to char­ter — and show­ing them a way to en­joy the ride that they may not have pre­vi­ously con­sid­ered. ¶ “It’s dif­fer­ent from what’s avail­able in the char­ter fleet,” he says of the yacht. “You go on most boats and say, ‘This is lovely, how nice.’ But it’s all sim­i­lar. There’s noth­ing spe­cial, noth­ing dif­fer­ent. This boat is spe­cial.”

EL­E­GANT IN­SPI­RA­TION — EV­ERY­WHERE “The font we’re us­ing for the name­plates, and for the let­ter­head on pa­per, is the font that they used for the in­au­gu­ral voy­age of the SS France, the last great French liner of the 1960s,” the owner of Ari­adne says. “We’ve adapted it for this boat.”

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