Remaking the QE2
The recent media furor about the blighted relaunch cruise of the world-famous Queen Elizabeth 2, refurbished late last year at the cost of $45 million, has detracted attention from the impressive interior redesign of a ship which hadn't been fully renovated since 1967. "The standards of the interiors had fallen well below what today's cruise customers expect," explains Alex McCuaig, managing director of Met Studio, which, along with John McNeece Ltd., was responsible for giving the million square feet of interior space a new lease on stylistic life.
The redesign had to accomplish several goals: establish a timelessly elegant ambiance that couldn't be found elsewhere and that would still be acceptable in 20 years' time; rationalize many of the ship's infrastructural and circulation problems; and attract a new, younger group of customers to the cruise experience. "What we wanted to do was re-establish the ocean-going tradition and link the QE2 more closely with Cunard's identity," explains McCuaig. "This is an ocean-going liner, not a floating hotel, and the design had to emphasize that. But at the same time we wanted to avoid all the most obvious nautical motifs--ropes, anchors, all those items."
The major emphasis of the redesign was on public and circulation spaces. The varied cabin accommodations were either redecorated or largely left intact. However, all bathrooms were completely refitted. (The main cause of contract delays on the relaunch cruise).
"The bathrooms were very '60s in style and didn't conform to modern hotel standards," explains McCuaig. New elements include free-standing, cone-shaped washbasins mounted on burred veneer back-panels, polished granite sink tops and the vertical, diffused fluorescent battens down both sides of the mirror units. Elsewhere, the design team began with the infrastructure. "There were terrible vertical and horizontal circulation problems along and between the ship's six public decks," explains McCuaig. In particular the ad hoc addition of lounges and seating areas meant no clear routes round the ship existed along which passengers could parade.
"We were keen to re-institute that old 'promenading' tradition from the old liners . . . it was one of their most successful features," says McCuaig. "We also installed a whole new stairtower and, to give the four stairtowers some life and interest, we brought together all the 'heritage' elements--model, plaques and other historical artifacts--into these spaces." In fact these various historical elements were linked together into what the client calls "The Cunard Heritage Trail."
Another important principal was the return to the neglected tradition of using artists and artisans as part of the team. "But we wanted to do it in a contemporary way," McCuaig claims, "and we wanted the art to be an integral part of the interior, not just an add-on element. In most cases the commissioned artworks for the space has a narrative. For example, in the Caronia restaurant, artwork captures the history of the famous cruise ship." Elsewhere existing artwork was given a new, more prominent position.
Finally, public spaces were required to be as multi-functional as possible, given the wide range of clientele and their needs. One major solution is the controlled use of lighting, most of it dimmable tungsten, "so you can vary the mood and pace around the ship and establish boundaries around spaces," McCuaig says.
One example of this strategy is the promenade which runs along the outer walls of the Queen's Room. Here, dimmed lighting is used to "screen" people walking by so they don't distract others in the central space. Another is the way that the public areas are gradually toned down at night, starting with bars and lounges at the forward end of the ship. This encourages passengers to move down to the Yacht Club and Lido, which are designed to be the liveliest, most concentrated late night/early morning spaces.
Passengers enter the ship via the Midship's Lobby, which establishes the standards for finishes and materials that are carried throughout the rest of the vessel. The white mushroom column--part of the old structure--was retained and is uplit from recessed fittings around the base. Rich burr myrtle veneer paneling contrasts with the deep purple and gold of the carpets and the blue oceanic-themed murals. (All carpets were specially designed with a different pattern for each deck.)
Public spaces on higher decks that are either brand new or have been radically remodeled include the Yacht Club, the Chart Room, the Caronia Restaurant, the Crystal Bar and the Queen's Room.
The Yacht Club is a completely re-fashioned area of the ship, which replaces a quoits court and dingy, unsuccessful plunge-pool and breakfast room at the rear of the Upper Deck. The entire superstructure enclosing the club was prefabricated in Hamburg, Germany, and lifted and welded into position during the 25-day retrofit.
As its name suggests, the club has the feel of a very elegant yacht, with polished timber and stainless steel finishes, as well as sail-like fabric panels around the bulkheads and the bar, which are lit from behind by cold cathode. It's a genuinely chameleon-like space which can be used for dancing, cabaret and corporate events. In addition it has to accommodate changes in the general passenger use; by day it has a softer, quieter mood, while at night it serves as a lively, elegant nightclub.
The Chart Room (formerly the Midship's Bar) is a more intimate space, with sensuous banquettes and warm, dark timbers. The bar can either open out onto the promenade or be closed down to create a more discrete club-like environment (perhaps using the old piano salvaged from the QE2's forerunner, the Queen Mary). An eight-stage light control system makes the space even more versatile. Another interesting lighting detail is the tapered, opalescent glass panel cut into the bar-front and lit from behind by a dimmable tungsten light.
The theme of the bar revolves around ocean-going navigation such as an illuminated 19th-century map of the Atlantic Ocean marked with crossing routes that decorates the back bar. Various other navigational instruments are displayed in showcases. To continue the narrative, upper walls feature a specially-commissioned calligraphic frieze by artist Brody Neuen-schwander, comprising quotations on sailing the Atlantic by various personalities.
The Caronia Restaurant, named after Cunard's most deluxe liner, is totally new. The old ship was affectionately known as the "green goddess," so a color scheme of soft greens, blues and browns was favored. To avoid creating a large, barn-like space, the dining area is divided into more intimate areas. For example, curved glass panels emblazoned with a sunburst motif create semi-alcoves near the outside windows. The center of the space is graced by a weighty, energetic sculpture in cast aluminum by Althea Wynne called "White Horses," supposedly alluding to the breakers of the North Atlantic. In contrast, the back wall features a gentle, alluring mural of a Pacific island scene in an ethno-primitive style by Jane Human.
Serving the sophisticated clientele of the Caronia Restaurant and the First Class grills on the deck below is the semi-circular Crystal Bar, a elegant cocktail bar with a decidedly international flavor. The bar itself features a backdrop in cast, sandblasted glass--featuring the winged horses found on a bronze placque originally designed by Norman Foster--which is lit from behind. Above it a slender, arching canopy fires fingers of low voltage light down onto the bartop.
At the heart of the ship is the Queen's Room, one of the largest social spaces on the vessel. "But previously it had been very unsuccessful," explains McCuaig, "and there was nothing at all regal about it." It was decided to retain the original grid-like coffered ceiling and columns, but the old brown leather chairs were replaced by softer, lighter-colored seating. Several artworks related to the British royal family were placed close to each entrance.
However, as McCuaig points out, "All spaces really lacked focal points." So the designers created one here on the back wall, by centering the Queen's bust in a blue-tinted alcove on a curved, gold panel. Hidden spotlighting picks out the gold details. Two large bronze vases stand guard on either size, framing the scene.
Met Studio's McCuaig sums up the general feeling about the final results. "This is a magnificent project which will ensure that the QE2 continues to be the world's greatest existing ship . . . the overall design has been carefully considered to reflect the lifestyle of today's and tomorrow's passengers."
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