focus yacht design bremen

Lürssen Yachts

Riding the Hanseatic wave

How the German city of Bremen became a centre for shipbuilding excellence.

Bremen is a city in northwest Germany best known for a diverse range of reasons. It is the setting for the Brothers Grimm fairy tale Town Musicians of Bremen , for which there is a commemorative statue located in front of the city hall. It is also the home of Beck’s Brewery, whose logo – a red shield with a white key – symbolises the key to the kingdom of heaven belonging to St Peter, the patron saint of Bremen Cathedral. And then there’s the idyllic Schnoor quarter, whose winding lanes packed with medieval architecture, cultural attractions and destination boutiques rank among the most beautiful streets in the world.

But perhaps most of all, Bremen, a two-city-state that straddles the Weser River, is recognised for its historic role in maritime trade. The Weser is the longest river flowing entirely in Germany lying some 60km upstream from its mouth into the North Sea. It played a critical role in the city’s emergence as a Hanseatic state in the Middle Ages, a fact that was confirmed in 1962 with the rare discovery of the ‘Bremen cog’ during dredging work in the river. Built in 1380, the wooden cog – a cargo ship from the Hanseatic era – is the best preserved medieval merchant ship in the world. After 40 years of painstaking salvage, the 600-year-old shipwreck, now housed in Bremerhaven’s newly founded German Maritime Museum, opened to the public in 2017.

Today, the City of Bremen is a prime cultural and economic hub. “Bremen is the second largest port of Germany and thus has become an important German shipbuilding region,” says Sylke auf dem Graben, PR and marketing manager at Lürssen shipyard. Housing 1,300 companies and at least 40,000 employees, the port’s maritime economy is central to Bremen’s success.

But Bremen’s industrial triumphs do not overshadow its aesthetic qualities, and the city centre is deemed to be one of the most exquisitely preserved historical neighbourhoods in the country. In 2004, Bremen City Hall, an important example of Brick Gothic and Weser Renaissance architecture in Europe, was added to the list of UNESCO World Heritage Sites, along with the Roland statue, a symbol of freedom of trade. The area’s significant seafaring traditions are echoed in a collection of large model ships housed in the Town Hall, while the region’s historic reputation for producing craft guilds is mirrored in the artisanal skills found within its thriving shipbuilding sector.

Lürssen and Abeking & Rasmussen are two of the superyacht industry’s most prominent shipyards, renowned for building some of the largest and best known superyachts of all time. The behemoths neighbour one another in Lemwerder, sitting adjacent on the left bank of the Weser. Established in 1875, Lürssen’s family-run enterprise started out building racing rowboats for Bremen oarsmen. The lightweight boats quickly became known for their precise workmanship and outstanding quality, which led to the 1886 commission by engine manufacturer Gottlieb Daimler to build the world’s first motorboat, the 6m REMS.

Fast forward 130 years and both Lürssen and Daimler – one of the most successful automotive companies in the world – remain central to Bremen’s success. In 1978, the first Mercedes-Benz passenger car left Daimler’s assembly line in Bremen, and today, Bremerhaven imports and exports more cars than any other city in Europe.

Lürssen’s legacy includes nine facilities spread across Bremen, Rendsburg and Hamburg. Dock 10 at the previous Blohm+Voss shipyard in Hamburg is currently being converted into Europe’s largest covered floating dock, but Lürssen’s headquarters lie in Bremen Vegesack, employing more than 1,000 people in the city, and “very much relying on local suppliers,” says Auf dem Graben.

“Approximately 75% of our suppliers are German companies and out of those around 90% are located in Northern Germany, in the regions of our shipyards,” she adds.

Lürssen Bremen features the full spectrum of construction, production and assembly facilities for superyachts greater than 100m in length. It is here that the most ambitious and creative concepts become a reality. These include Lürssen‘s first delivery in 2021, the striking 142m Project Opus , and the world’s largest superyacht, 180m Azzam .

“We are permanently investing in the yards’ infrastructure,” says Michael Breman, Lürssen’s sales director, “to ensure that we are well positioned for the future, and that we work even more efficiently and sustainably.”

Abeking & Rasmussen was founded in 1907 by George Abeking and Henry Rasmussen, the latter being a talented yacht skipper who proved to be equally adept as a yacht designer. In 2020 the shipyard, which has delivered more than 6,500 vessels in its history, comprises five production halls built for ships up to 125m in length. It is best known for its superyachts and commercial vessels, including 75m Cloudbreak , 80m Excellence , and its latest launch, 68m Soaring , with interior and exterior designed by Bremen-based studio FOCUS Yacht Design.

“The shipyard works like clockwork and the opportunity to work on both design spheres allows an integrated and holistic approach,” says Thomas Mühe, managing director of FOCUS Yacht Design. “As a result, the yacht turned out to be both modern and timeless.”

And Bremen has turned out to be a centre for excellence.

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SOARING // Abeking & Rasmussen

Lemwerder-based shipyard delivered the 68m motor yacht soaring..

The exterior and interior of SOARING have been created by the Bremen-based studio Focus Yacht Design . The yacht’s name comes from the soaring of a majestic eagle. Abeking & Rasmussen constructed the displacement motor yacht with a steel hull and an aluminum superstructure for an experienced yacht owner.

SOARING can be chartered for 850,000 € per week .

The tender garage has been placed forward on the main deck. On the starboard side is a 9m limo tender, on the port side is a 7.50m tender – both are by Compass. Furthermore, SOARING carries a 5.5m Pascoe rescue boat. Toys are stored on the lower deck.

Video by DrDuu

Interior of Motor Yacht SOARING

Main Specifications of SOARING

Comment by Thomas Mühe of Focus Yacht Design

“What is good design? There are, as there have always been, different opinions on this. The Focus Yacht Design office developed its very own design definition. We are less interested in the questions of materiality, of forms, colours and fashions. We work primarily with the interpretation and the character of a yacht, seen as a singularity, an essence and also as a reflection of the owner’s personality. This personality alone is the decisive criteria for all the aesthetic and technical decision making on all FYD projects. The same applies to the development of the interior and exterior design for MY SOARING. Our goal was not to put together a selection of attractive details, but to create a coherent and harmonious whole that was to be simultaneously impressive and imposing but most of all a reflection and representation of the owner’s central life themes and requests. It is most probably this very personal approach that positively surprised and convinced the owner from the very beginning. There were almost no design changes, but always very clear ideas and visions of what SOARING was to be that grew out of a very close collaboration. This gave rise to numerous unique and unconventional solutions, such as the back-lit onyx wall in the library. It is features like these, the successful fusion of classical and contemporary yacht design elements that imbue SOARING with a certain charisma. One of the many examples of this concept is the deliberately reduced but simultaneously expressive design language, such as the contrast of very light and very dark veneers. It is great to see how our concept has impacted the end result in such a purposeful and meaningful way. SOARING is a fascinating sight, but what is even more important for us is that she is a bespoke place of wellbeing, relaxation and enjoyment.”

SHARING IS CARING - THANK YOU!

Dislopen // crn yachts // zuccon international project, sangi // royal huisman, gravity // luca vallebona, black heron // anna borla, aquarius // feadship, taboo of the seas // maiora 30 // fossati design, lonian // feadship, exuma // perini navi.

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The Research Centre for East European Studies (Forschungsstelle Osteuropa), Germany

The Research Centre for East European Studies at the University of Bremen was founded in 1982. Its archive collection was formed with a focus on samizdat and other materials that reflected the life and work of dissidents in the former Soviet countries, Czechoslovakia, Poland, Hungary, and the German Democratic Republic. Today it combines two goals: the (re)examination of societies and cultures in these regions and the analysis of contemporary developments in the post‑Soviet space.

The section on the Soviet Union and its successor states comprises over 600 personal archives, including those of Soviet Nonconformist artists, writers, and poets such as Anna Alchuk, Anatoly Brusilovsky, Eduard Gorokhovsky, Igor Golomshtok, Michail Grobman, Boris Groys and Natalia Nikitin, Boris Zaborov, Lev Nussberg, Sergei Sigei and Rea Nikonova, Genrikh Sapgir, and Igor Kholin. It includes a large archive collected by German historian and expert in Slavic cultures Karl Eimermacher, which includes materials from Vadim Sidur. The Centre’s archive also contains materials from the Moscow Archive of New Art (MANI) and A‑Ya art journal, and photographs documenting life in the artistic circles of Moscow, Leningrad, and Paris. All personal archives of the Soviet section will be studied for art‑related materials as part of the RAAN project.

The Central East European section keeps testimonies of political, religious, and artistic dissent after 1945. Extensive materials from the Polish trade union Solidarnosc and the opposition movement from 1976–1989 are of particular importance. The Czechoslovakian collection consists of an extensive library of books from underground publishing houses and personal papers of the photographer Ivan Kyncl and the dissident artist Karel Trinkewitz. Of particular importance is Klaus Groh’s collection of Central and East European art. Groh was involved in the mail art movement in the 1970s and handed over 120 boxes containing publications by informal artists, demonstrating the surprising intensity of transnational art networks during the Cold War. A small GDR collection comprises artistic samizdat and the writings of Christian activists.

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Design Insight: In Conversation with Focus Yacht Design

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By Katia Damborsky   24 June 2020

For German studio Focus Yacht Design, form and function is equally as important as luxury and elegance; and that's immediately apparent on board their latest project, the 68m (223') superyacht SOARING . Ahead of what's shaping up to be a busy summer season for the charter yacht , we caught up Christian Schaefer, Partner at Focus Yacht Design, to get some insight inside superyacht SOARING.

Delivered by Abeking & Rasmussen last month,  SOARING  is one of the most exciting additions to the Mediterranean yacht charter fleet so far this year.

When she first hit the water at the yard's Lemwerder facilities, the motor yacht made waves with her sleek exterior design. Penned by Focus Yacht Design, the yacht's exterior strikes the perfect balance between classic lines, an elegant profile and a sporty silhouette.

Ahead of her maiden arrival in the Mediterranean, the yacht's interiors have been unveiled for the first time. Also helmed by Focus, her interiors have been thoughtfully styled according to their use. Her social spaces are rich and classic with an overarching Art Deco theme, while her accommodation is light and refreshing by contrast. Deviations from the norm are evident in her Owner's library, which is located on the upper deck forward where you might expect to find the master suite.

Through this attention to detail, Focus has managed to create an on-board ambience that's warm and inviting, yet luxurious and decadent at the same time. We catch up with Christian Schaefer, Partner at Focus Yacht Design, to find out more about what makes SOARING so special.

A gentleman's yacht

You've designed both the interior and exterior of SOARING. Your partner Thomas has previously said; "The opportunity to work on both design spheres allows an integrated and holistic approach." Can you tell me a bit more about how you managed to create a harmony between the two?

Originally we started with a concept for the Exterior profile with which we won the Design Pitch for this project. The Client’s imagination was captured by the idea of a classical yacht with a contemporary appearance. The yacht was meant to have an elegant and sportive appeal while maintaining overall classical lines. We have tried to continue this concept into the interior as well.

There are classical aspects and materials which are combined with a modern design vocabulary. For example, the materials: Dominant veneers are very light and very dark in combination and in contrast to each other. These two color schemes meet and interact with each other and are continued throughout the vessel. Where we have a classical wooden paneling, such as in the Beach Club, we have combined it with modern elements such as inserted pieces of strings.

Did the Owners have any specific ideas for design elements on board SOARING?

From the beginning, the Client was convinced by the holistic approach and concept. Changes to the design throughout the project were kept to a minimum. At the same time, the Client was very enthusiastic about the project and was very closely involved in the design process from day one. 

One feature which we like very much is the backlit onyx wall in the library, where originally we suggested a very modern detail. The backlit Onyx was a suggestion of the Client and together we went to Italy to find the perfect stone for this idea.

Dominant veneers are very light and very dark in combination and in contrast to each other.

What inspired the interior themes of SOARING?

We concentrated on a reduced scope of different materials. All social areas and all staterooms follow individual variations of an overall scheme. However, this scheme is connected to personal views and perspectives so we are not in the position to disclose any insights on these at the moment. 

However, these themes also work without any knowledge of the deeper meaning. You can just enjoy the variation;   e.g. the bamboo wood in the cabin, the sea-lily motifs or the cosmic theme of the Main Salon.

All social areas and all staterooms follow individual variations of an overall scheme.

I love the idea of a library room adjoining the master suite. Was this something the Owner wanted to incorporate?

Originally the yacht was planned primarily for private and family use. The initial design briefing was to develop an Owner’s Deck for someone who is interested in music and literature. 

Elegant exteriors

There's a lot of interesting curves on this yacht- quite a different design to other yachts you've worked on like Plan B and Odessa II. What inspired the exterior design?

We knew that this Owner wouldn‘t be interested in a yacht that could be mistaken with any other yacht which we see in magazines, marinas and on the horizon. For us, it was important to keep the lines elegant, fluent and harmonic and we needed to avoid any contradictions between outer appearance and inner use.

We knew that this Owner wouldn‘t be interested in a yacht that could be mistaken with any other yacht which we see in magazines.

What's very interesting to me is the forward windows on the hull. Have they been designed to give the illusion of being a single piece of glass?

Curiously enough, these windows were already a part of our very first proposal for Abeking & Rasmussen , which unfortunately didn’t come into realization years ago. The main reason for these windows is the desire to prevent individual and/or rectangular windows which would disturb the continuity of the lines.

On Lurssen's Quattroelle, this type of window design has been described as sugar-scoop. Is this the same style of window design?

A number of yacht designs play with unusual shapes. What's important for us is the connection of the individual windows into one overall shape and the integration into the horizontal lines of the yacht.

Designer's Insight

What's your favourite space on board SOARING?

The library on the Owner’s Deck is a very special place. On most other yachts, this room would be the Owner’s suite, which positions a room in which peoples' eyes are mostly closed in a space that actually has the best views.

If you want to enjoy this view during the daytime, say, if you're looking for a quiet ambience for relaxation and contemplation, this is one of the nicest places to be.

On most other yachts, this room would be the Owner’s suite, which positions a room in which peoples' eyes are mostly closed in a space that actually has the best views.

Can you tell me a bit about the space on the main deck aft? I can see from renderings there's some kind of glass structure around the dining table- is this a wind deflector?

Obviously, with the Owner’s stateroom on the upper deck aft, the outside deck couldn’t be used for alfresco dining as you might expect to find on comparable yachts. Putting the outside dining on the Main Deck level generated the need for a temporary privacy device, so we integrated this semi-opaque pop-up glass screen.

SOARING is one of the largest interior projects you've worked on. How does it compare and what makes it different to other yachts in your portfolio?

Some think that the individual yachts which a designer works on should be similar, because the designer should look at things in a certain way. In reality, each project differs and evolves through the collaboration with the individual Owner and his particular taste, needs and perspectives.

The future of Focus

What inspired you to get into interior design, specifically for yachts?

We find it challenging to plan in such a confined and complicated environment, where space is restricted, technical requirements are crucial and the luxury world of representation and leisure needs to be combined with the world of operation and functionality. This is very exciting and the constant need for improvement leads to new developments and solutions with every new project.

Did you grow up in the yachting community?

Unfortunately not. But we grew up in the yacht- and shipbuilding community for which Bremen is a hotspot.

Would you say you have a signature style as a design studio?

You will certainly see a unique similarity in the different projects by Focus Yacht Design, although the design is always a product of the Owner’s input and the Designer’s interpretation. For us, it's most important that the projects work as an overall theme and that they are balanced, both aesthetically and functionally. And finally, we must love what we do.

What does the future hold for Focus?

We are working on a number of projects that deal with the question of how tomorrow’s clients will use a yacht, which in our opinion differs from the ways we knew from the past. This includes technical developments caused by the need for sustainability as well as developments in the way people like to use spaces and conduct activities. Variability and the preparation for outstanding experiences and events will play an important role.

Curiously enough, these windows were already a part of our very first proposal for Abeking & Rasmussen.

SOARING offers accommodation for up to 12 guests in six cabins. On-board highlights include a large sundeck with a jacuzzi and spa facilities in the beach club, which also includes a treatment room. 

SOARING will be based in the Mediterranean this summer, cruising around hotspots including Italy and the South of France . She charters from €800,000 p/week (+ expenses). 

If you're interested in learning more about making a booking on M/Y SOARING, please get in touch with us or reach out to your preferred yacht charter broker .

This interview has been edited for length and clarity.

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The client did not have too particular requirements for the projected yacht despite length and interior volume. But he clearly wanted something with an individual identity, an iconografic signature. At the same time a traditional use of the yacht was anticipated. With that framework we could not follow a path of extreme proportions or generate elegance by means of sleekness. The yacht was clearly a volume ship with an individual Owner’s Deck at a length at which a forward facing accommodation deck is not common. Soaring was also not planned as a show-off piece but as a family yacht. Like with artwork a good design is generated by a storyline, tensions and disruptions which afterall are embedded into an harmonic entirety. To break up the traditional way of arranging a yacht in different layers, we revived an idea Thomas Mühe worked on during the late nineties: Trying to treat the ship as a sculpture rather than a building, with a sweeping line, as it used in much smaller run-abouts, we connected Main Deck, Bow and swim platform in one generous bow.

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