Tan­koa ya­ch­ts has com­mis­sio­ned Ex­clu­si­va De­si­gn to de­li­ver a tai­lor ma­de pro­ject de­si­gn cal­led “Pro­get­to Bo­li­de” whi­ch will asto­ni­sh. We’re tal­king about a 72 me­tre su­pe­rya­cht wi­th 540 squa­re me­tres of gla­zed la­te­ral pa­nel­ling. Let’s ta­ke a clo­ser look at

Superyacht - - Design - by Sil­via Mon­ta­gna

Ex­clu­si­va De­si­gn star­ted up ten years ago fol­lo­wing pre­li­mi­na­ry mee­tings bet­ween de­si­gner ar­chi­tect Fa­bio Mazzeo and pro­ject ma­na­ger Vi­to Tad­dei: bo­th of them are worlds apart in the sen­se of trai­ning – one an ar­chi­tect the other a pro­ject ma­na­ger – but bo­th wan­ted to crea­te a dif­fe­rent en­ter­pri­se mo­del, one whi­ch could deal wi­th pro­ject and de­si­gn work and mo­ni­tor the rea­li­sa­tion of the pro­jec­ts, by har­mo­ni­sing crea­ti­vi­ty wi­th ac­tual con­struc­tion. The com­pa­ny has over the pa­st de­ca­de com­ple­ted nu­me­rous im­por­tant - ob­viou­sly one-off – pro­jec­ts. To na­me a few: the main Gaz­prom of­fi­ces in St. Pe­ter­sburg, air­port ter­mi­nals, of­fi­ces as well as pu­blic buil­dings in ad-

di­tion to re­si­den­tial buil­dings on pri­va­te­ly ow­ned, isle­ts in Do­ha, ma­gni­fi­cent vil­las and blocks of fla­ts in Midd­le and Far Ea­stern Coun­tries, along the Fren­ch Ri­vie­ra, Lon­don, Pa­ris and in the Al­pi­ne area in Nor­thern Ita­ly.the mee­ting wi­th Tan­koa was for Ex­clu­si­va a won­der­ful in­tro­duc­tion to the ya­ch­ting world and de­si­gn. The re­sult was wi­de­ly com­men­ted from the start as “Pro­get­to Bo­li­de” kic­ked off wi­th a Fu­tu­ri­stic de­si­gn the­me: a 72 me­tre su­pe­rya­cht whi­ch am­ply sports an all new ya­cht con­cept. To bet­ter un­der­stand the phi­lo­so­phy be­hind all this we went to in­ter­view Fa­bio Mazzeo, chair­man and de­si­gn di­rec­tor who over­saw ea­ch pha­se of this pro­ject.

A ve­ry Ita­lian look about the stu­dio – wi­th HQ si­tua­ted in a 16th cen­tu­ry buil­ding in the hi­sto­ric cen­tre – It is he­re that Ex­clu­si­va De­si­gn dra­ws up de­ci­ded­ly tai­lor ma­de pro­jec­ts. What’s your ap­proa­ch and po­li­cy con­cer­ning pro­ject de­si­gn work? To­day we can defi­ne our­sel­ves as being ve­ry con­cre­te in our ap­proa­ch and we are fur­the­ring our ‘de­si­gned and built po­li­cy’. The will to de­li­ver ex­clu­si­ve and uni­que pro­duc­ts has led us to be­co­me a clo­se knit wor­king group whi­ch rea­sons right across the who­le pro­ject tran­sver­sal­ly as we be­lie­ve be­st re­sul­ts are tho­se that are ma­de up of di­ver­se com­pe­ten­cies. This means that we ha­ve be­gun to work wi­th pro­fes­sio­nals co­ming from dif­fe­rent fields, that are not ne­ces­sa­ri­ly tied to the ar­chi­tec­tu­ral and de­si­gn world. This ma­kes us dif­fer from tho­se wor­king this field of ac­ti­vi­ty. We ha­ve be­gun to ta­ke grea­ter in­te­re­st in a one of a kind ap­proa­ch whi­ch trans­la­tes in­to sin­gle uni­que works. But in this ca­se uni­que is not on­ly meant as so­me­thing pre­cious, but al­so ma­de to mea­su­re, in other words so­me­thing built spe­ci­fi­cal­ly ac­cor­ding to clien­ts’ ex­pec­ta­tions and de­si­res. How are you struc­tu­red? To­day we to­tal about six­ty in the dif­fe­rent areas ma­king up the com­pa­ny: Crea­ti­ve R&D re­la­ted to pro­ject de­si­gn, ma­nu­fac­tu­ring ca­pa­bi­li­ty and en­ter­pri­se, com­mu­ni­ca­tions de­part­ment, ad­min. and fi­nan­cial con­trol.the peo­ple in­vol­ved in the­se sec­tors va­ry in terms of pro­fes­sio­nal re­qui­si­tes to be­st car­ry out their gi­ven func­tions and re­spon­si­bi­li­ties: we ha­ve pro­ject ma­na­gers, de­si­gners, in­te­rior de­co­ra­tors, and smart, and ca­pa­ble con­struc­tion ma­na­gers on eve­ry si­te. Let’s talk about ya­ch­ts and Tan­koa. How did you fit in? We nor­mal­ly work from Rus­sia to Chi­na and the Midd­le Ea­st, Eu­ro­pe and Sou­th Afri­ca for ve­ry weal­thy clien­ts co­ming from ma­ny parts of the glo­be. Ob­viou­sly hi­gh-end ya­ch­ts are ve­ry clo­se to our seg­ment so I be­lie­ve this was a na­tu­ral con­se­quen­ce or evo­lu­tion whi­ch got us in­vol­ved in this spe­cial pro­ject. It was ob­viou­sly ve­ry im­por­tant to work wi­th a group that was pre­pa­red to un­der­stand our way of plan­ning and doing things, and not on­ly, but al­so so­meo­ne who was pre­pa­red to in­ve­st va­lua­ble ti­me in re­sear­ch work. Whi­le scou­ting around to find what we we­re loo­king out for, we ca­me across this small dy­na­mic shi­pyard, al­beit a ve­ry well ap­pre­cia­ted yard staf­fed by ex­pe­rien­ced peo­ple, Tan­koa was loo­king for a dif­fe­rent ap­proa­ch. In them we found the right part­ners. They we­re en­thu­sia­stic from the ve­ry start. As for us we tru­sted the shi­pyard’s buil­ding ca­pa­ci­ties com­ple­te­ly. How would you defi­ne “Pro­get­to Bo­li­de”? The­re are th­ree key ele­men­ts in­vol­ved.the fir­st is the re­la­tion­ship wi­th the con­tou­ring en­vi­ron­ment: whoe­ver pur­cha­ses a ya­cht, li­kes to spend ti­me in the sa­me con­text as the ya­cht does, the sea and the­re­fo­re one of the fir­st things we did was to up­gra­de the per­cep­tion the­re is of the sur­roun­ding en­vi­ron­ment by in­stal­ling hu­ge gla­zed pa­nels. In fact the­re is am­ple de­ploy­ment of tran­spa­rent sur­fa­ces whi­ch al­so aim to ma­ke the in­te­riors brighter and as se­mi- tran­spa­rent as pos­si­ble. The se­cond key ele­ment is usa­bi­li­ty and tran­sfor­ma­bi­li­ty of the spa­ do this we tried to ima­gi­ne spo­ts that

could not on­ly lend them­sel­ves to be­co­ming ver­sa­ti­le or mul­ti-pur­po­se but could al­so dou­ble as areas re­ser­ved for dai­ly use on board.the ow­ner’s sui­te whi­ch ex­tends for 400 squa­re me­tres is a con­cre­te exam­ple of the point I am ma­king. For the ow­ner’s pe­ru­sal the­re’s a truly lar­ge pri­va­te ba­th­room, a gym, a well­ness spot, a chan­ging room, a ter­ra­ce and Ja­cuz­zi, mas­sa­ge par­lour, bar­ber/hair­dres­ser... A real pen­thou­se whi­ch can be rea­ched wi­thout mee­ting anyo­ne on the way.the swim­ming pool in­stal­led along the main deck can be co­ve­red over thanks to a pu­sh but­ton de­vi­ce to gain ex­tra spa­ce (from 100 to 140 squa­re me­tres of ac­crued spa­ce) whi­ch you can tread on. The third ele­ment has to do wi­th the con­nec­tion or re­la­tion­ship bet­ween the in­te­riors and the ex­te­rior sec­tions. The op­ti­mi­sed har­mo­nious so­lu­tion trans­la­tes in­to near­ly 900 squa­re me­tres of co­ve­red sur­fa­ce and ap­pro­xi­ma­te­ly 600 squa­re me­tres of un­co­ve­red areas, wi­thout sa­cri­fi­cing any of the tech­ni­cal and wa­ter toys areas. How im­por­tant is the ro­le of tech­no­lo­gy in terms of ma­te­rials and in the buil­ding of the nee­ded spe­cial fra­mes and stru­ts? Well we brought in­to ya­ch­ting our prior ex­pe­rien­ce gai­ned on buil­ding si­tes, not so mu­ch in terms of tech­no­lo­gy but out of a sheer de­si­re to ex­pe­ri­ment: to­day when buil­ding re­si­den­tial areas but not on­ly the­re are plen­ty of cal­cu­la­ted ri­sks ta­ken in terms of struc­tu­ral and tech­no­lo­gic ele­men­ts whi­ch ha­ve in fact im­pro­ved our un­der­stan­ding of how well di­ver­se ma­te­rials adapt. Ex­clu­si­va in­tro­du­ced a lit­tle un­scru­pu­lou­sness in­to the pro­ject I da­re say, by de­ploy­ing se­ve­ral ele­men­ts whi­ch had not still been ac­cep­ted in ya­ch­ts th­rou­gh a sort of un­der­ly­ing “fear for so­me­thing new”. It is clear that in­no­va­tion is al­ways de­man­ding in terms of re­sul­ts. Tan­koa thou­gh im­me­dia­te­ly took up a po­si­ti­ve at­ti­tu­de and was al­ways ve­ry coo­pe­ra­ti­ve. Fi­nal­ly when all was ac­com­pli­shed the end pro­duct pos­ses­sed a num­ber of cal­cu­la­ted ri­sks, but doa­ble ones: 270 squa­re me­tres of gla­zed pa­nels di­vi­ded in two for ea­ch of the si­des speak for them­sel­ves. Was your crea­ti­vi­ty li­mi­ted by the struc­tu­ral re­stric­tions en­coun­te­red in ya­cht buil­ding? To be ho­ne­st we en­joyed the freedom we had for things we could not do and ma­ny mo­re li­mi­ts on tho­se we could, whi­ch tur­ned out as an ad­van­ta­ge. As an ar­chi­tect I al­ways think re­stric­tions are a point of streng­th whi­ch lead to suc­cess. From re­stric­tions you ma­na­ge to set do­wn new re­la­tion­ships bet­ween parts, being a lit­tle crea­ti­ve you can fa­ce up to pro­blems and find new so­lu­tions. Did you re­que­st things of Tan­koa whi­ch we­re ini­tial­ly thought as being not doa­ble? Well from a fea­si­bi­li­ty view point, we found our­sel­ves wi­th fair­ly unu­sual ideas whi­ch we­re dif­fi­cult to put in­to prac­ti­ce, but Tan­koa’s tech­ni­cal de­part­ment ma­de itself ut­ter­ly avai­la­ble eve­ry ti­me. One of the ini­tial re­quests we had was to in­crea­se the stan­ding hea­droom be­low decks, main­ly in the loun­ge and di­ning areas. Con­se­quen­tly the beam of the ya­cht had to be in­crea­sed ac­cor­din­gly and is bea­mier than a ya­cht of the sa­me si­ze. The ae­sthe­tics we wan­ted cal­led for clean clear cut li­nes and in the end we got them. Ob­viou­sly we took in­to ac­count eve­ry

tech­ni­cal re­que­st from the yard but Tan­koa’s tech­ni­cal de­part­ment on the other hand was pre­pa­red to chan­ge mo­dus ope­ran­di whi­ch is ra­re enou­gh when it co­mes to tech­ni­cal of­fi­ces. How did de­si­gn and per­for­man­ce com­pa­re wi­th sa­fe­ty at sea? Pro­get­to Bo­li­de was doa­ble from the ve­ry start whi­ch ma­kes it stand out from ma­ny other con­cep­ts. Tank tests we­re car­ried out im­me­dia­te­ly. Ma­ny of our in­tui­tions pro­ved su­stai­na­ble and al­so tech­ni­cal­ly per­for­ming. It’s a fa­st ship, it is abo­ve ave­ra­ge in terms of sea kind­li­ness whi­ch means that it de­li­ve­red ve­ry po­si­ti­ve re­sul­ts even if they we­re not spe­ci­fi­cal­ly con­nec­ted to de­si­gn. Are you en­vi­sa­ging to fur­ther your ex­pe­rien­ce in ya­cht de­si­gn? We real­ly en­joyed doing this and en­joy­ing what you do is a great star­ting point when dea­ling wi­th in­no­va­tion. For us thou­gh, the suc­cess ob­tai­ned wi­th this pro­ject is main­ly a cul­tu­ral one. Of­ten the pro­blem you ha­ve to fa­ce is not to do things whi­ch ha­ve ne­ver been do­ne be­fo­re, but to pos­sess the ca­pa­ci­ty to know when to chan­ge, di­ver­si­fy, li­sten and stu­dy new ways of con­tri­bu­ting. Re­tur­ning to tai­lor ma­de for a mo­ment... whi­ch are the choi­ces ma­de for the in­te­rior de­cor? It real­ly in­vol­ved in dep­th sur­ge­ry, at mo­le­cu­le le­vel even. The team led by Ce­ci­lia Bru­no­ri (ar­chi­tect) flan­ked by all the staff and my­self wor­ked on the in­te­riors as if the­re was a de­man­ding client on we ima­gi­ned his ta­stes, ha­bi­ts, de­si­res, his ca­pri­ciou­sness even and his de­si­re to asto­ni­sh and to show off the ya­cht to his friends and guests.the in­te­rior de­cor was de­ve­lo­ped in tai­lor ma­de fa­shion whe­re eve­ry squa­re me­tre was fa­shio­ned to be­st mat­ch sha­pe and pat­tern to­ge­ther. This in­vol­ved ca­re­ful ana­ly­sis of the ma­te­rials, the er­go­no­mics, spa­ces, tou­ch, and the ob­vious re­la­tion­ship bet­ween in­si­de and out. We went fur­ther and ima­gi­ned the hy­po­the­ti­cal client wa­king up in the mor­ning, ta­king a peep at the sun, then we asked our­sel­ves whe­ther he nor­mal­ly uses his left ra­ther than right hand wi­th whi­ch to open the door and what he would be li­ke­ly to do if he we­re to walk in­to the main li­ving room and whi­ch would be the fir­st thing he’d do. As it tur­ned out it was a hu­ma­ni­stic exer­ci­se. Well how we­re spa­ces di­vi­ded? The main deck con­sists of the ci­ne­ma area as well as the gue­st quar­ters ma­de up of fi­ve VIP sui­tes. The up­per deck hosts the sa­loon and helm con­trols sta­tion whi­le the sun­deck hosts the ow­ner’s li­ving quar­ters. Whi­ch kind of ma­te­rials did you choo­se? We de­ployed na­tu­ral ma­te­rials, in the main sin­ce we li­ke to use ma­te­rials li­ke block wood for exam­ple that feel reas­su­ring to the tou­ch.we want to feel the ef­fect of the co­lour sche­mes, and ap­pre­cia­te the per­fu­me, whi­ch un­k­no­win­gly but ine­vi­ta­bly rea­ches one’s sen­se of smell as of­ten hap­pens in ele­gant and so­phi­sti­ca­ted en­vi­ron­men­ts.the uni­que­ness of an ob­ject or the di­screet charm of a pla­ce is not found so­le­ly in their form but al­so in the num­ber of di­ver­se sen­ses that are en­han­ced. Real lu­xu­ry is not found in a pla­ce the­re­fo­re, but in the pri­vi­le­ge of being able to en­joy an ex­clu­si­ve re­la­tion­ship wi­th the con­tou­ring ma­te­rials.

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