on the flybridge deck above. In the detailing, however, and the
interior treatment, Red Dragon breaks new ground and presents a unique
and distinctive project. The Wilmotte & Associates interior
perfectly complements the exterior styling with its spare, simple lines
and subtle detailing.
Inside and out, the Red Dragon project has been redefined. The lines are contemporary, with a near plumb bow, subtle sheer, sweeping low-profile coachroof and an extended aft deck flowing back to an elegant transom that slopes down to just above the waterline. The line of the coachroof extends into a long overhang floating virtually unsupported over the aft cockpit. The hull is finished in anthracite-grey with a snow-white superstructure. A vivid red covestripe provides a handsome accent against the dark hull and establishes a theme repeated on the boom.
The dark windows of the coachroof wrap all the way around in an unbroken sweep of curved glass. The aft cockpit side windows slide up and down at the touch of a button to allow the breeze to waft through, or provide protection from the elements as required.
Perhaps the most obvious absence is any exterior timber. An aluminium cap, painted in the same anthracite-grey as the hull, replaces the ‘traditional' varnished teak caprails. The effect is simple and contemporary, with the hull topsides presenting a continuous plane that curves into a seamless cap at the deck.
The deck hardware package continues the Alloy Yachts practice of producing most of the components in-house. The entire winch package, including captive reel and vertical winches, is by Alloy Yachts, as are the mooring cleats, fairleads and stanchions. The genoa tracks and cars are by Harken. The five-spreader mast is constructed in carbon-fibre by Marten Spars with an in-boom furling system for the fully battened mainsail.
The sails are by the Doyle New Zealand loft, featuring their Stratis GP technology. The sail plan includes the fully battened mainsail and three headsails, all furling on Reckmann hydraulic units and comprising a large reacher, a 100 percent blade, and a staysail.
Inside and out, the Red Dragon project has been redefined. The lines are contemporary, with a near plumb bow, subtle sheer, sweeping low-profile coachroof and an extended aft deck flowing back to an elegant transom that slopes down to just above the waterline. The line of the coachroof extends into a long overhang floating virtually unsupported over the aft cockpit. The hull is finished in anthracite-grey with a snow-white superstructure. A vivid red covestripe provides a handsome accent against the dark hull and establishes a theme repeated on the boom.
The dark windows of the coachroof wrap all the way around in an unbroken sweep of curved glass. The aft cockpit side windows slide up and down at the touch of a button to allow the breeze to waft through, or provide protection from the elements as required.
Perhaps the most obvious absence is any exterior timber. An aluminium cap, painted in the same anthracite-grey as the hull, replaces the ‘traditional' varnished teak caprails. The effect is simple and contemporary, with the hull topsides presenting a continuous plane that curves into a seamless cap at the deck.
The deck hardware package continues the Alloy Yachts practice of producing most of the components in-house. The entire winch package, including captive reel and vertical winches, is by Alloy Yachts, as are the mooring cleats, fairleads and stanchions. The genoa tracks and cars are by Harken. The five-spreader mast is constructed in carbon-fibre by Marten Spars with an in-boom furling system for the fully battened mainsail.
The sails are by the Doyle New Zealand loft, featuring their Stratis GP technology. The sail plan includes the fully battened mainsail and three headsails, all furling on Reckmann hydraulic units and comprising a large reacher, a 100 percent blade, and a staysail.
In keeping with the clean exterior lines, the interior treatment is
spare, angular and thoroughly modern. "It was an advantage to have no
preconceived ideas and to feel free of codes," said Jean Michel
Wilmotte of the project, which was managed by Anne Claude Morand
Dessart, assisted by Jérôme Collet.
The ambience they have created is quiet and calming and elegant in its simplicity. The colours are muted, and combined with the light pouring in from the large surrounding windows, a tremendous sense of space is achieved. This is heightened by the impression that much of the furniture is suspended in space, separated from the floor and walls with light spilling from concealed recesses under and around the cabinets and wardrobes. Shelves, for example, which might ordinarily butt into corners on three sides, or at least two, seem to levitate from single attachments.
"In terms of the interior, our previous boat was finished in mahogany, which we found to be quite dark," noted Guy Ullens. "We wanted something more contemporary and brighter. The atmosphere is contemporary, but very relaxing and a little bit minimalist,"
The wall panelling, using blonde tabu timber veneers, is laid in large rectangular panels with no architraves to outline doors. The only element to distinguish a door in the wall is the brushed stainless handle. In contrast, occasional panels feature bold horizontal strips of timber laid in tight relief, adding depth and texture. The flooring is similarly light, with pale charme laid in 110mm-wide planks.
Continued on next page.
The ambience they have created is quiet and calming and elegant in its simplicity. The colours are muted, and combined with the light pouring in from the large surrounding windows, a tremendous sense of space is achieved. This is heightened by the impression that much of the furniture is suspended in space, separated from the floor and walls with light spilling from concealed recesses under and around the cabinets and wardrobes. Shelves, for example, which might ordinarily butt into corners on three sides, or at least two, seem to levitate from single attachments.
"In terms of the interior, our previous boat was finished in mahogany, which we found to be quite dark," noted Guy Ullens. "We wanted something more contemporary and brighter. The atmosphere is contemporary, but very relaxing and a little bit minimalist,"
The wall panelling, using blonde tabu timber veneers, is laid in large rectangular panels with no architraves to outline doors. The only element to distinguish a door in the wall is the brushed stainless handle. In contrast, occasional panels feature bold horizontal strips of timber laid in tight relief, adding depth and texture. The flooring is similarly light, with pale charme laid in 110mm-wide planks.
Continued on next page.
