PAINTING A MASTERPIECE
Approximately 200 paint samples were prepared before meeting the owner’s approval. Painting Savannah necessitated 46 personnel: 21 spray painters, 21 assistants, three managers and one paint maker. They would spray a particular section of the hull and superstructure in a single day, always heading in the same direction. They started at 5 in the morning and worked for as long as it took to ensure every part was painted in exactly the same way without using tape lines.
The painters worked in a climate-controlled tent spanning some 794,580 cubic feet (22,500 cubic meters). They used special mixing machines and, for the first time, electrically charged spray guns for consistency in the metallic flakes and to achieve the thickest possible layer.
In total, they covered a surface area of 34,445 square feet (3,200 square meters), using some 317 gallons (1,200 liters) of paint along with 500 gallons (1,900 liters) of clear paint.
Because metal interferes with reception, the mast domes were finished in pearl paint to achieve the same aesthetic effect as the metallic paint. remarkably slender waistline for her length: a mere 40-foot (12.2-meter) beam. In retrospect, Gherardi says, she would have liked a bit more length to allow for a more extensive foredeck and an even slimmer silhouette.
“We took some of our inspiration from the American architect John Lautner, whose 1960s Elrod House in Palm Springs was featured in the James Bond film ‘Diamonds are Forever,’” Gherardi says. The home includes lots of glass, a connection between outside and inside, and continuity from one space to another. “We have used mostly sliding doors, which are hidden,” Gherardi says. “Another factor that lends connectivity are the skylights, the opening in between decks and the mirrored ceilings that reflect the sea and increase the overall volume.”
The curved glass at the after end of Savannah’s main-deck salon slides away to open onto a pool deck. The circular lounge is considered an outside area, not an inside living room.
“The rosewood floor is oiled and can easily handle wet feet,” Gherardi says. “Even the fabrics on the sofas [which look like silk, but are not] all have practical, removable slipcovers that can withstand abuse. These days, people do not want to be in the sun, do not want to be in the heat and do not want to be susceptible to mosquitoes.”
Savannah’s design also includes common areas with views of or access to the outdoors. Living areas on the main deck, bridge deck and sundeck all are meant to exist in harmony with the sea. Windows and balconies contribute to the success of this concept. Even the gym is open; situated on the bridge deck, it is yet another room with a view.
Another way to describe Savannah’s interior areas is visually compelling. The variety of materials and textures keep your head turning at every juncture. While the yacht is markedly contemporary, she cannot be pegged to one design style. The interior is an eclectic mix of name-brand designer items, art and furniture procured from flea markets and elements that Gherardi’s firm created. She incorporated iconic chairs from the ’60s and pieces from other eras simply because her team liked them. “We are not snobs about these things,” Gherardi says. What they did not buy, collect or curate, Gherardi and Bozzarelli designed, such as a dining table made from straw; a chandelier with