Softroom are creating a raft of spaces onboard 'Scarlet Lady' – the first of three 110,000 ton ships for new cruise line Virgin Voyages. Due to enter service from PortMiami in 2020, she will carry 3850 crew and sailors on a range of Caribbean itineraries and features a clean energy system.
Full details of our work will be released soon, but the first to be revealed are two of the dining areas – 'The Galley' and 'Geonbae'.
The Galley, open 24/7 and replacing the buffet found on traditional liners, is designed as a colourful food market. The ocean view will never be out of reach as kiosks are set against the windows for grand vistas and seating is deliberately raised up the nearer you are to the centre of the ship. There are no rigidly defined rooms in the Galley but instead a curving sawtooth ceiling will gently describe a curving route through the main space.
Kiosks feature high-quality design details that respond to the origins of the food they serve. A taco stand draws on Mexican traditions with a contemporary twist using bright colours, warm timber details and Milagros tiles. The counter of the panini bar is made of olive wood as a nod to Italian chopping boards.
The Galley also features a number of nautical design motifs, sometimes expressed explicitly and sometimes hidden for guests to spot over the length of their journey. The coffee bar is contained within a pod that is formed like one of the ship fenders that typically sit on the outside of liners, while straps on the banquet seating are inspired by life vests.
A Korean barbeque will be one of the highlights for evening food, designed to be a lively, inclusive space and named Geonbae, the Korean for ‘cheers’. The interior design uses a range of bright colours in a dark environment to reference K-Pop culture as well as aquatic motifs. Unlike most cruise ship restaurants, the dining experience can be interactive if guests want to cook their own food.
Inspired by rock pools, circular booths are set into rippling timber forms, which house teal-coloured table tops that glow from overhead lighting, creating a sense of intimacy within a large open-plan room. These are repeated across the long linear restaurant, with Korean graffiti covering the walls and moving up onto the ceiling like a wave reaching over the patrons. Towards the windows, a series of lighter individual tables contrast with the heavier booths, appearing to dissolve into sea spray against the ocean views.