PAINT­ING A MAS­TER­PIECE

Yachts International - - Sternlines -

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

Lights. The up­per-deck din­ing area has an ex­pand­able din­ing ta­ble cus­tom made from straw with a chan­de­lier com­posed of var­ied-length LED this page: The 30-foot-long main-deck swim­ming pool is cus­tom tiled in a va­ri­ety of blues and greens, form­ing an eye-c

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