Bannenberg & Rowell
- المؤسس
- Jon Bannenberg (الاستوديو من بداية الستينات)
- القيادة الحالية
- Dickie Bannenberg وSimon Rowell
- إعادة التسمية
- Bannenberg & Rowell في 2003
- المقر
- Fulham، لندن
- التخصصات
- تصميم الخارجيات والديكورات، والبناءات الجديدة والريفيتات
- اليخوت المميزة
- Valor (79.5 متر) وRenaissance (112 متر) وAvantage (87 متر)
- الإرث
- Jon Bannenberg، اللي ينسمى أبا تصميم اليخوت الحديث
- Jon Bannenberg landmark
- Nabila, 85.9 m, Benetti, 1980, now sailing as Kingdom 5KR
- Renaissance, 112 m, Freire Shipyard, 2023: exterior and interior, and the largest superyacht built in Spain
- Avantage, 87 m, Lurssen, 2020
- exterior and interior
- Valor, 79.5 m, Feadship, launched May 2025: interior, under a Studio De Voogt exterior and naval architecture
- Other interior-only work
- Predator (72.8 m, Feadship, 2008) and Scott Free, delivered as Elandess (60 m, Abeking and Rasmussen, 2009)
- Team
- twelve people as described by Forbes in February 2017. The studio publishes no current headcount (checked 28 July 2026)
- Design fee
- not published. Market band 1 to 5 per cent of build cost, plus 2 to 4 per cent project management, both outside the yard price (SuperYachtReview 2026 price guide, updated March 2026)
- On a refit, ownership of the original designer's as-built drawings sets the cost of the project and should be established before the design contract is signed
وريث أبي اليخت الحديث
Jon Bannenberg أسس الاستوديو في بداية الستينات وأعاد تشكيل كيف تنصمم اليخوت خلال العقود اللي بعدها. وينسب له على نطاق واسع انه أبو السوبريخت الحديث، وتأثيره يمشي في جزء كبير من القطاع. وابنه Dickie Bannenberg والمصمم Simon Rowell يقودان المكتب الحين. والاثنان اشتغلا جنب Jon سنين كثيرة قبل ما ياخذون الدفة. وDickie Bannenberg قضى قريبا من عقدين وهو يشتغل جنب أبوه قبل ما يقود الشركة.
والاستوديو انعاد تسميته Bannenberg & Rowell في 2003، وهي السنة اللي بعد وفاة Jon Bannenberg. وقاعدته Fulham في لندن ويشتغل على اليخوت وعلى مشاريع على البر. ومن إعادة التسمية سلم حوالي أربعين مشروع يخت بين بناءات جديدة وريفيتات. وإرث المؤسس يظل جزءا حيا من هوية الاستوديو. والفريق الحالي يتعامل مع هالإرث كمسؤولية يبني عليها مو كجايزة يتاجر فيها.
إبداعي وسهل التعامل
الاستوديو يوصف شغله بأنه إبداعي ومعاصر وسهل التعامل، ويقاوم أسلوب بيت ثابت واحد. ويصمم الديكورات والخارجيات ويستمتع بإعطاء كل يخت طابعا مميزا. والشغل غالبا فيه إحساس بالطرافة واللون يميزه عن منافسين أكثر جدية. وهذا الانفتاح يعكس الروح اللي انعرف بها مؤسسه. وJon Bannenberg كسر قواعد زمنه، والاستوديو لا يزال يقاوم الاستقرار على صيغة وحدة.
والمكتب مرتاح مع ريفيت جريء مثل ارتياحه مع بناء جديد من الصفر. ويتعامل مع كل بريف بشروطه بدل ما يفرض قالبا. وهالمرونة أنتجت محفظة متنوعة وحيوية. والاستوديو يقدر الأفكار على الصيغة. والريفيت الجريء يقدر يكون مبتكرا مثل بناء جديد في يدي الاستوديو.
ثورة Jon Bannenberg، محمولة للأمام بطرافة ولون.
محفظة متنوعة
الشغل المبني للاستوديو يشمل الـ Feadship بطول 79.5 متر واسمها Valor والـ Renaissance بطول 112 متر من حوض Freire. والـ Lurssen بطول 87 متر واسمها Avantage ويخت Abeking and Rasmussen بطول 60 متر واسمه Elysian، وكان قبلها Elandess، يجلسان جنبهما. ويخوت Heesen وFeadship أصغر تكمل مدى واسعا من الأحجام. وتنوع الأحواض والأحجام لافت. والشغل عبر هذا العدد من البنائين المختلفين علامة على استوديو موثوق على نطاق واسع مو مربوط بحوض واحد.
ويخوت المؤسس المعلمة، مثل Nabila اللي انبنت في 1980 وكثر النقاش حولها، تظل مراجع في تاريخ الميدان. والاستوديو الحالي يبني على هالإرث بصفه الخاص من الشغل الجديد. وريفيتاته أعطت حياة جديدة لعدد من اليخوت الأقدم. والمحفظة تنقرا مبتكرة بدل ما تكون متكررة. والاستوديو يفضل يفاجئ مالكا على ان يكرر نفسه من مشروع لمشروع.
الملاك والأحواض والريفيتات
Bannenberg & Rowell يشتغل مع مجموعة واسعة من الأحواض في هولندا وألمانيا وأبعد. واستعداده لأخذ الريفيتات مثل البناءات الجديدة يوسع نوع الملاك اللي يخدمهم. والاستوديو يتعامل مع الملاك بطريقة مرتاحة وتعاونية. وهذا الأسلوب السهل جزء من جاذبيته. والملاك يوصفون الاستوديو بأنه سهل وممتع في الشغل، وهذا يهم في بناء يمشي سنين.
والمكتب يحتفظ بدور عملي من المفهوم لين التسليم في البناءات الجديدة والريفيتات. ومصمموه يحمون طابع المخطط خلال عملية البناء الطويلة. واتساع الاستوديو يعني انه يقدر يتكيف مع بريفات مختلفة جدا. وهالتنوع يخلي دفتر طلباته متنوعا. وأخذ البناءات الجديدة والريفيتات سوا يوسع مدى الملاك اللي يقدر الاستوديو يخدمهم.
حمل الإرث للأمام
الاستوديو يحتل مكانا خاصا كسليل مباشر لمكتب Jon Bannenberg الثوري. وهذا النسب يعطيه سلطة قليل غيره يقدر يدعيها. وتحت Dickie Bannenberg وSimon Rowell بنى سمعته الخاصة بدل ما يتاجر بالماضي. والتوازن بين الإرث والشغل الجديد هو قوته. والاتجار بالماضي وحده كان راح يكون الطريق السهل، والاستوديو اختار بوضوح انه ما يسويه.
والمكتب يستمر في تسليم بناءات جديدة وريفيتات بوتيرة ثابتة. وأسلوبه الإبداعي السهل خلاه ذا صلة عبر جيلين. واسم Bannenberg لا يزال له وزن في القطاع كله. والاستوديو يظل صوتا مميزا في تصميم اليخوت. وبعد جيلين، لا يزال اسم Bannenberg يعني سواة الأشياء بشكل مختلف شوي.
Valor, and interiors inside other people's boxes
Valor was launched by Feadship in May 2025 at 79.5 metres and 2,025 GT over six decks, with Studio De Voogt taking the naval architecture and the exterior and Bannenberg and Rowell the interior. She has a two metre ice belt above and below the waterline and a Bureau Veritas Young Ice 2 notation, which qualifies her to transit the Northwest Passage. Her propulsion is diesel-electric hybrid with four variable-speed generators, a water-cooled lithium-ion battery bank, a solar array on the mast and twin Schottel azimuthing thrusters, and Feadship quotes zero-carbon operation for up to two days.
An explorer interior is a distinct discipline. Furniture has to be secured for conditions a Mediterranean yacht never sees, surfaces have to survive wet gear and cold, and the crew spaces carry a heavier load because the boat is used harder. The studio has similar work behind it. Predator, 72.8 metres from Feadship in 2008 and the first Feadship delivered with a reverse bow, carries a Bannenberg and Rowell interior and took a Neptune at the World Superyacht Awards in 2009.
Refits, which many studios avoid
The office takes refits as readily as new builds, and that is unusual at this level. Predator returned to Feadship in 2016 for a refit that added two guest suites. Scott Free, the 60 metre Abeking and Rasmussen delivered in 2009 as Elandess with a Donald Starkey exterior, carries a Bannenberg and Rowell interior.
Refit work is a harder brief than a new build and it pays less. The structure, the systems and the deck heights are fixed, half the drawings are missing or wrong, and every discovery on site costs money that was not budgeted. A studio willing to do it is a useful appointment for an owner buying a good hull with a tired interior, which at current new-build prices and delivery slots is an increasingly sensible route into a large yacht.
How a commission runs, and what it costs
The studio works closely and informally with owners from concept through delivery, on new builds and refits alike, and its designers stay on a project through construction to protect the scheme. There is no naval architecture in house, so the yard or an outside office holds the hull, the structure and every performance guarantee in the build contract. On a Feadship the platform comes from Studio De Voogt. Commercially the design agreement is separate from the build agreement and is signed and paid first, in stages, which means an owner can stop after concept for the price of the concept and can take the drawings to more than one yard for quotation, subject to the confidentiality undertakings the studio will require.
No studio at this level publishes a fee scale. The market band is 1 to 5 per cent of build cost for the designer and 2 to 4 per cent for project management, both outside the yard's quoted price, per the SuperYachtReview guide updated March 2026, and a mandate covering exterior and interior sits in the upper half of it. A refit is a different animal. It is faster, far less predictable, and the design fee is a smaller number attached to a much larger unknown, because a refit specification is written against a boat nobody has fully opened up yet. A contingency of real size should be budgeted and expected to be used.
Recognition, and who it does not suit
The studio's work has been recognised repeatedly, including the Neptune for Predator in 2009, and the Bannenberg name still carries weight across the industry. Awards are worth a narrow amount to an owner, confirming a finish standard and helping a broker at resale. The more useful signal is the spread of yards, which runs from Feadship and Lurssen to a Spanish builder and a German one, on new builds and refits alike.
This studio does not suit an owner who wants to buy a recognisable signature, because the practice deliberately does not have one. It does not offer naval architecture. It is not the obvious choice above about 112 metres, and it is not a sailing yacht office. Anyone who wants formal, polished grandeur will find the work too playful for the brief.
Two principals, an archive, and what the contract should cover
The practice runs on two named people, a director and a creative director, in a studio Forbes described as twelve strong in February 2017, and no current headcount is published. That concentration is part of what an owner is buying and it is also a risk that the standard documents ignore. The ITIC standard trading conditions for naval architects, dated 8 July 2025, cover intellectual property and cap liability at ten times the consultant's charges or GBP 100,000, whichever is higher, and say nothing about the unavailability of a named principal. Commercial consultancy handles this routinely, treating death or long incapacity of a key person as a termination event and requiring a replacement of equal standing subject to the client's approval.
The drawing question is sharper here than at most studios because of the archive. Copyright normally stays with the designer, with the owner licensed to build one hull, and superyacht practice at its best converts that into an exclusive, irrevocable and assignable licence, which is the standard clause Federico Santini describes in Barche magazine in August 2018. On a refit the same logic applies to the original designer's drawings, which the studio will not own and may not be permitted to copy. An owner buying a good hull that needs a new interior should establish who holds the as-built drawings before he signs anything, because that answer sets the cost of the whole project.
No signature means nothing to date
The deliberate absence of a house style is the most resale-friendly position in the directory, and almost nobody buys it for that reason. A boat that does not announce a studio also does not announce a decade. There is no fashionable silhouette to fall out of fashion and no theme the next owner has to either adopt or rip out. Ocean Independence, on 11 May 2026, ranks builder pedigree, specification and condition above cosmetic detail in what holds value, which is a polite way of saying the market prices the boat and not the byline. Work that is unformulaic by intention slips through that filter without a penalty.
Against that, the Bannenberg name still carries with brokers and with the trade, and it earns a hearing that an unknown studio would not get. The one place the approach costs money is with a buyer who wants to be told what he is looking at. Something recognisable is easier to market in a listing photograph, which matters when the median yacht of 24 metres and over took 277 days to sell in 2025 against an average of 487. A characterful boat with no obvious label needs a broker willing to explain it, and is worth more to the buyer who works that out for himself.
لمين هو: الملاك اللي يبون تصميما مبتكرا وذا طابع بإحساس بالطرافة، على بناء جديد أو ريفيت.