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IdeaeItalia – The power of ideas

BARBARA BORGONOVO — Wed, 20 May 2026 06:24:43 +0000

For Alessio Battistini and Davide Bernardini, design is the tool through which we achieve balance and beauty by eliminating the superfluous

by Chiara Risolo – photo by Andrea Muscatello

Bernardini-Battistini design studio. Black smoke. No. Too long, verbose. Blatantly assonant. Better IdeaeItalia, to be pronounced in Latin. The exegesis is unequivocal: IdeaeItalia, in its ups and downs of consonants and vowels, expresses everything the world needs to know, namely, a strong sense of belonging to a country that has forged a blood pact with beauty and a passion for talent. With the branding affair out of the way, what follows is the story of two men and a craft. A craft that is among the most fascinating because, like few others, it gives shape and, if done well, even function to very ambitious projects.

Bernardini and Battistini, it was said. Davide & Alessio, where the “ampersand”, copied and pasted directly from the firm’s official website, actually has a meaning that goes far beyond business. Since 2013, they have been at the helm of IdeaeItalia and, without interruption, lifelong friends, a bond that dates back to 1977, the year of their birth.

Davide & Alessio, united from their first cry, but different. Breaking with clichés, one could say ‘as different as two drops of water’. The first resembles those that fall neatly, perpendicular to the earth in autumn; the second resembles those that cut through the air, sharp and impetuous, like a summer storm. Drops, however, from the same sky, the one above the Gulf of Poet, in La Spezia.

IdeaeItalia’s strength lies in accompanying the project from concept to completion, following all stages of production in close contact with the shipyard, combining skills and sensibilities
from different worlds.

Was yours already clear? Did you know what you wanted to do when you grew up and, above all, that one day you would also become partners?
Alessio: No. Absolutely not. Boating was… ‘this unknown’. The passion came later, after I turned 20. Davide was enrolled in the Faculty of Architecture in Florence. He chose to do a synthesis workshop on yacht design. One day, I sneaked into his classroom to see what he was working on. I liked it. A lot. So much so that I decided to enrol in Nautical Engineering.
Davide: I chose architecture because I loved the subject in general; my interest in boating grew gradually. It was also fuelled by La Spezia’s increasingly central role in shipbuilding. We’re talking about the early 2000s. Alessio and I tried to take advantage of the favourable moment to play our cards right, exploiting the potential of our territory.

2016 marks IdeaeItalia’s baptism of fire. The presentation
of the Wider 150 at the Monaco Boat Show, for which they designed the interior, offers Alessio Battistini and Davide Bernardini,
the studio’s founders, the opportunity to make their debut
as protagonists in the world of mega-yachts.

However, IdeaeItalia was founded in 2013. What happened before then?
Davide: After graduating, I cut my teeth at Fulvio De Simoni, a brief but intense experience (smiles, ed.), a great training ground. Then I opened a small office. In the meantime, Alessio had made some crucial contacts thanks to the Faculty of Engineering, so we joined forces. We began our first collaborations with several shipyards, including Rodriguez, Baglietto and Sanlorenzo…
Alessio: The real turning point, however, came when the studio was founded in 2013. The time was ripe to invest in a dedicated space and a network of collaborators. An official space, designed to formalise and consolidate our professional identity and grow the IdeaeItalia brand, of which we have always been proud and of which we are now, even more so, very proud. 2013 was also the year when our boldness and confidence in our work led us to take a chance and capture Tilli Antonelli’s attention, a crucial encounter in our journey.

«The experience with Nerea was enriching, and also a completely new experience for us, because until then we had never worked
with small boats, which, as we know, require a thousand compromises due to their limited space». Alessio Battistini

Born in 1977, they come from different academic backgrounds: Car Design for Alessio and Architecture for Davide, but they share a passion for boating and design.

«From a man like Tilli Antonelli, we have learnt to look beyond things. And never at the hands of a clock. To question everything.
To seek out new solutions to dispel banality. He calls them ‘Cool’. Antonelli is someone who approaches things with his head,
his heart and his hands». Davide Bernardini

It’s clear: a giant.
Alessio: We had heard that Wider was looking for an interior designer for a 50-meter-long motoryacht and that Antonelli would be at the upcoming Seatec exhibition. The problem was that there were only four days between the hint about the 50-metre aluminium boat and the exhibition’s opening. We looked at each other and said, ‘Let’s give it a go!’ We designed day and night, without ever sleeping, and set off for Carrara with the sketches still warm under our arms. We approached Antonelli and tentatively asked if he had the time and inclination to take a look at our work.

And him?
He certainly gave that look. I don’t know if he was being irresponsible or far-sighted! It must be said that we already had some experience with large aluminium yachts, which was undoubtedly a point in our favour and a source of reassurance for him.

IdeaeItalia was founded in 2013 to capitalise on the experience gained over years of working closely with production in renowned shipyards and collaborating with leading international design firms.

What one learn from a man like Tilli Antonelli?
Davide: To look beyond things. And never at the hands of a clock. To question everything. To seek out new solutions to dispel banality. He calls them ‘Cool’. Antonelli is someone who approaches things with his head, his heart and his hands.
Alessio: We learnt so much from working with Wider, and those two projects were the start of how we do things now. It’s funny to think about how immature and reckless we were when we started, and how much we’ve evolved since then.

Work ennobles man.
Alessio: If it is done with passion. Considering all our efforts and sacrifices, I would say it was worth it.

So, the turning point was the hint to Seatec. And then?
Davide: We established a partnership with Sanlorenzo. It was a significant professional experience. Then came the meeting with Ferretti Group. At that time, there was a need to give the Ferretti Yachts brand a new style, while maintaining a consistent, recognisable visual and stylistic identity across all product lines. Ferretti gave us the assignment and, from that moment on, their trust.
Alessio: Ferretti Group has given us an excellent opportunity by allowing us to design the interiors of the first Ferretti 1000, a 30-metre-long yacht. It went very well, and the collaboration intensified.

CHIARA MIGNANI
With a solid artistic foundation and technical skills gained in Naval Design in La Spezia, Chiara began her career in Interior Yacht Design collaborating with various Italian studios before joining IdeaeItalia in 2023. She immediately embraced the studio’s philosophy, finding a natural affinity for Davide and Alessio’s design approach and becoming an integral part of a harmonious, stimulating team.
«Hand drawing is my creative language: I develop initial concepts with sketches and compositional studies, then translate them into 3D models, combining spontaneity and precision to ensure consistency and quality throughout the design process».

RICCARDO CAMURRI
Riccardo graduated in Interior Design at the Politecnico in Milan and obtained a master’s degree in Naval and Nautical Design in La Spezia. In 2021, immediately after graduating, he joined the IdeaeItalia studio. Riccardo works on 3D modelling, materials and rendering. «Working with Davide and Alessio is a great way to learn new skills, methods and ideas. Every project has been a chance to learn new tools and tricks, and to train my eye for the finest details. One of the best things about their approach is that you can test and grow through experience: they let you try, then correct the shot straight away and clearly».

Filippo Salvetti designed the exteriors of that boat. In general, what kind of relationship is established between interior and exterior designers?
Alessio: Each case, of course, is unique. We always welcome collaborations with enthusiasm.
Davide: The most important thing is to avoid the sort of people who like to take centre stage, and Salvetti is undoubtedly not one; it is necessary to aim for maximum cooperation and transparent and fair discussions.
Alessio: Working with Filippo is great. He’s a serious professional, very cooperative, always open to discussion. The truth is that if we all focus on the end goal, without getting lost in silly personal issues and jealousies, things will go in the right direction.

Ferretti Yachts 1000.

Even when it comes to disruptive, revolutionary projects, like Infynito?
Davide: In this case, Filippo had an intuition and was able to demonstrate its effectiveness with full knowledge of the facts. After careful consideration, the shipyard absorbed the concept and approved it. In general, an idea, even one that seems “absurd,” if it comes from a competent mind and is strongly motivated, should always be pursued and defended.

And what idea did you “defend” and assert regarding the interiors of Infynito?
Alessio: We wholeheartedly embraced Filippo’s intuition and applied it to the interiors; the vast open space with views both fore and aft. At first, it seemed like a gamble, but then it turned out to be a winning solution. The secret, as Davide pointed out, is to accompany the shipyard and the customer on a journey with grace and intelligence. The effort involved is entirely relative.

With smaller shipyards, there’s usually less to do, right? I guess it’s just because there are fewer players in the field, like there are no style committees, product committees, fixed budgets, stock market quotations… To name one at random, Nerea.
Alessio: The experience with Nerea was enriching, and also a completely new experience for us, because until then we had never worked with small boats, which, as we know, require a thousand compromises due to their limited space.

The studio’s activities also extend to areas far from the sea, from luxury residential properties to the Hospitality Sector. The goal remains experimentation and the search for new forms and materials, combining cutting-edge technologies with the traditional craftsmanship typical of Italian manufacturing.

What is on the table right now? What projects are you working on? For whom?
Davide: We are focused on large boats. Right now, in particular, on the design of an 80-metre yacht. For a private client, a foreign client. For now, we cannot add anything else.
Alessio: We are also looking into refits, which is a fascinating world. We believe there is great potential for good things in the future. We are watching and studying the market. We’ll see.

What does Alessio have that Davide doesn’t, and vice versa?
Davide: Alessio is more creative and instinctive. He has a more passionate approach. Metaphorically speaking, he’s the first to jump in when the challenge is becoming tough, and there are ‘walls to break down’.
Alessio: Davide is a very rational, thoughtful person with excellent overview skills and good taste. Together, we ‘work’.

(IdeaeItalia – The power of ideas – Barchemagazine.com – Excerpted from Barche, February 2026)

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Nuvolari & Lenard – Composers of symphonies

BARBARA BORGONOVO — Tue, 10 Feb 2026 13:55:11 +0000

Dan for Carlo. Carlo for Dan. Whichever way you put it, the outcome is the same. These two professionals, who have been working together for thirty-five years, are, beyond their individual skills, two sides of the same coin – a coin that glimmers in the small town of Scorzé, yet casts its light across the entire world, starting with the seas

by Chiara Risolo – photo by Giovanni Malgarini

Genoa, 1989, 29th Boat Show. The visitors include a Slovenian student soon to graduate in Architecture. Despite being only twenty-two, he already has a clear vision for his professional future: he wants to design boats, inspired by those he admired as a child on the Kornati Islands, where he often went with his father. “There was no real harbour. I observed them at anchor, which gave me the chance to study them from every angle. Moored at the quay, boats reveal little more than a profile, a stern, a bow…” recalls the student, Dan Lenard. This is how he grew up, his eyes filled with wonder – a wonder he now interprets brilliantly, alongside his business partner, Carlo Nuvolari. What does Genoa have to do with it? Quite a lot, because it was at that very fair that the Italian and the Slovenian met for the first time. Empathy, intuition, shared passion… something extraordinary must have happened, because exactly one year later, in 1990, they founded their studio, Nuvolari Lenard, in Scorzé, a small town just a few kilometres from Venice. And since mathematics is not a matter of opinion, this means they have been working side by side for an impressive thirty-five years. Barche met them both.

Carlo Nuvolari, three and a half decades working together, without a hitch or a stumble. What is the secret to staying on course? Personal passion. First and foremost, even before being professionals, Dan and I share a deep connection with the sea and boats. We have always sailed, each with our own vessel, and we often visit boat shows simply as enthusiasts. We look around, talk freely, comment on one yacht or another, and discuss the changes we would make if it were ours. In short, we have fun. Despite our expertise, we have never lost the enthusiasm of those who truly live for the sea.

Oceanco Bravo Eugenia ©Francisco Jose Martinez Mendez.

Balance and proportion guide the hands and minds of Carlo Nuvolari-Duodo, a naval engineer from Venice, and Dan Lenard, an architect from Ljubljana, who design and draw yachts of all types, from 7 to 185 metres, which are built in the world’s most famous shipyards.

Speaking of skills, is it fair to say that a clear division of roles is one of the key ingredients in this successful “partnership”? After all, in any relationship, it is crucial to know who is responsible for what…
Carlo Nuvolari: Yes and no. Although I am a naval engineer and architect, and Dan is a designer, our approach is entirely interdisciplinary. We discuss every project together, analyse it in depth, break it down into its components, and, of course, involve the people who work with us. Collaboration is at the heart of everything we do. Naturally, I tend to focus more on function, while Dan is more drawn to form, but the final result is never, and I emphasise never, the product of individualism.
Dan Lenard: True. Over all these years, it has been impossible not to influence one another. As a result, beyond our individual backgrounds, I think it isn’t easy to draw a clear line between us.

Of course, but you must differ in some way!
Nuvolari: Let’s put it this way: Dan has a particular talent for engaging with clients and enjoys travelling to trade fairs and attending various events. I, on the other hand, prefer life in the shipyard.
Lenard: I would like to add a note about Carlo. What impressed me from the very beginning was his exceptional technical expertise in boat design, from studying hull lines to optimising the engine room and selecting propulsion systems. A solid preliminary design undoubtedly makes construction easier and, consequently, helps position the boat effectively in the market. A yacht cannot be beautiful alone; it must perform many functions. In short, a boat’s success is assured when there is a perfect balance between form and function.

NL Plus projects line

The NL Plus projects line starts with 50 Plus, a 52-meter yacht at the limit of 500 GT. The Nuvolari Lenard Plus line represents an innovative effort that encapsulates the best of the thirty year experience of Dan Lenard, Carlo Nuvolari and their studio.

Nuvolari, your partner, has touched on a crucial point. It goes without saying that this balance is not achieved by divine grace, but through careful study and research. You yourself told Barche a few years ago: “Sometimes, we work on projects that will never be built or even seen. It is precisely this creative process that keeps us and our younger collaborators alive, allowing us to push beyond the limits of nautical and residential design, regardless of whether a particular project is on the horizon”.

In a fast-paced world, with a market that constantly demands more and more, is it still possible to indulge in this kind of luxury?
Nuvolari: In fact, it is not only possible, but it is essential, a duty. Having good ideas at the ready ensures that you are never caught unprepared.
Lenard: For us, research is a constant imperative, an absolute necessity. Ideally, it serves as a kind of training ground, a place where we work hard to maintain our physical shape. When an order arrives, we never start from a blank sheet of paper; instead, we already have a portfolio of solutions to draw upon.

Dan Lenard

«Interior design success is no longer just about style, but about taking a holistic approach that considers all aspects of the project, including the relationship with exterior design, and the knowledge and correct use of appropriate, sustainable materials and techniques».

Setting aside this unshakeable and non-negotiable foundation, what would you say are the strengths of your firm?
Nuvolari: Well, first of all, as I mentioned earlier, Dan and I sail, meaning that we understand our business inside out. I know designers in the nautical sector who are keen skiers and, without wishing to be controversial, I must admit I’m personally sceptical. Another hallmark of our studio is the strong consistency between design and product, which yacht owners greatly appreciate. It is rare for us to say, “I’m sorry, but we realised during construction that this can’t be done”. Let me explain: today’s technology allows us to produce astonishingly realistic computer renderings, only to hit a wall when moving from theory to practice. In contrast, when comparing our preliminary designs with the finished yacht, you will see that they are virtually identical.

Lürssen Kismet – photo by BlueiProd.

What about other strong points? Lenard: I would also highlight the issue of waste reduction. It’s all too easy to fill a luxury item with unnecessary extras. The consistency Carlo mentioned ensures that our owners don’t experience any surprises, including financially. Beyond that, it gives us great satisfaction to know that one of our clients has sold a yacht designed by our studio for a price higher than the original purchase value.

Lürssen Nord ©Tom van Oossanen.

Nuvolari & Lenard have designed superyachts for several renowned international shipyards, including Oceanco, Lürssen, Palmer Johnson and CRN. They have also designed production boats
for the Bénéteau Group.

Can you give me a practical example? Of course. I’m thinking of Lürssen’s Ahpo. Although the exact amount of the deal isn’t publicly known, I understand that the former owner managed to secure a healthy margin… we’re talking a few million euros

«We have designed and built yachts of all sizes and materials, including fibreglass, aluminium and steel. Our studio has a collective understanding of what clients want, from the overall design to the smallest details. Whenever we take on a new project, we don’t just copy what we’ve done before; we draw on our experience».

Carlo Nuvolari

Dan just mentioned Lürssen. You work with clients practically all over the world. What, if any, differences do you notice between Italian and international shipyards? Every shipyard has its own approach. In general, I would say that large groups, regardless of nationality, tend to have a more corporate DNA for apparent reasons. After all, the famous “accounts” are always among the first things that need to be balanced. With family-run businesses, where production is more limited, it is possible to establish a more personal, human relationship between the parties. Owners of smaller shipyards are often willing to budget for a few additional expenses because they take pride in and derive personal satisfaction from launching a beautiful yacht. This vessel truly represents them, rather than just one of many. In general, I would add that northern European shipyards tend to adopt a hyper-technical approach and can be somewhat distant in their interpersonal relationships. I would even describe them as bureaucratic. Then there are the Turkish yards, masters of craftsmanship, yet still somewhat behind when it comes to organisation.

Serenissima

Speaking of Turkey, it seems the country is currently experiencing a golden age. There’s no doubt about it. The people involved are far from amateurs; many have been building boats for thirty or forty years. As I mentioned, they need to become more structured from a managerial perspective.

Does Italy have anything to fear from this vast country? Definitely!

In what sense? Manpower! Labour costs are lower there, as we know, yet the builders and engineers are equally qualified. Many are trained in Italy. Consider that 20% of students at the Politecnico di Milano are Turkish nationals. We even have a Turkish employee in our studio.

Lürssen AHPO ©Guillaume Plisson.

Absolutely. But let’s end on a high note. Let’s try to challenge the common perception that today’s yachts all look alike and resemble floating villas.
Lenard: The yachts we design are not like that, of that there is no doubt. It’s difficult to put into words the difference between a lounge at home and a lounge on a yacht. To summarise, one could say that the former is a “pop piece”, while the latter is part of a symphony. Well, we create symphonies.

DAN, RECORD MAN
Perseverance pays off. Dan Lenard succeeded on his third attempt, officially earning a place in the Guinness World Records for solo, non-stop, unassisted sailing. From 12 to 18 August, aboard his 4.23-metre ILCA Laser, he sailed 321.5 miles across the Adriatic Sea, comfortably surpassing the previous record of 250 miles. In truth, this was not merely a sporting challenge. With this achievement, Lenard aimed to send a strong and clear message about sustainability: zero emissions and no plastic packaging on board. Those who know the designer are well aware of his commitment to protecting the seas. His next goal? Naturally ambitious, that is to say 500 miles, once again with the support of the Vela Code Team and the Vela Code Movement.

CRN MY Atlante – photo by Maurizio Paradisi.

Since its founding in 1992, the studio has developed a diverse portfolio that includes not only yachts but also aircraft interiors and homes. Their work is characterised by an acute awareness of design in all its forms.

The Nuvolari & Lenard studio is located in Scorzè, near Venice, where designers, shipyard engineers and model makers work together to conceive every aspect of megayachts and boats in general: from new hulls to original architectural forms, from interior design to decoration.

(Nuvolari & Lenard – Composers of symphonies – Excerpted from Barche, November 2026)

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Bernardo and Martina Zuccon – Architects of their own lives

BARBARA BORGONOVO — Wed, 19 Nov 2025 10:46:00 +0000

Bernardo and Martina, the driving force behind the Zuccon International Project studio, are two sides of the same coin. Their success is based on expertise, passion, collaboration and harmony

by Chiara Risolo – photo by Andrea Muscatello

The body speaks. During the one-hour, seventeen-minute, forty-five-second interview, despite sitting next to each other on the same side of the desk, they never once looked at each other. Brothers at odds? Not at all! The truth is that they don’t need to exchange glances for approval or disapproval to know how to respond. They trust each other implicitly. He, a neat freak, is sitting in an armchair that seems to be propped up on the floor. His back is straight, and as he talks, he moves his head back and forth in a loop, slightly bowed, as if searching for something, a missing piece (he will admit during the conversation that he is, in a way). She, on the other hand, is more “dishevelled”, asymmetrical, leaning slightly towards him, in “mother mode”. In other words, she protects him without giving the impression of protecting him. And she smiles. Always.

«We are ‘functionalists’ by profession, but also somewhat bohemian. Certainly human and humanist. After all, art is everywhere, and we want to become architects of our lives». Bernardo Zuccon

Who are they? Bernardo and Martina, helmsmen of the Zuccon International Project studio, founded in Rome in 1972 by their parents, Paola Galeazzi and Gianni Zuccon. Barche met them to talk about… not just boating, it seems. Or rather, not in the way one might expect from people who have spent their entire lives designing luxury boats. It’s not because there are no drawings of bows, sterns and so on on the table. It’s more because Bernardo, Martina and the whole team are experiencing a second artistic youth, driven by an emotional urgency that has little to do with capital increases, numbers and earnings in the strict sense. They want to improve as individuals and “become architects of their own lives”, they say, by taking on new professional challenges. It is not a craving for greatness, but a desire for depth. They want to go ‘elsewhere’, to break through with beauty the wall of a certain rhetoric that, in the long run, dulls everyday life and lowers the decibel level of the soul.

Sanlorenzo SD132

«About the Sanlorenzo SD132, flagship of the semi-displacement line, we have taken care, and are very proud, both of the exterior lines and interior décor».

Bernardo, what’s going on? Martina and I are actually old, despite being young. We’ve been doing this job all along, and although yachting is fascinating, we felt the need to broaden our horizons. Clearly, everyone who works with us is involved at this stage. Some time ago, I wrote down a phrase that struck me deeply. I think it’s by Thomas Hood: “When did a single bee ever make honey in a hive?”

Sanlorenzo SX120

«The Sanlorenzo SX120 is a design that embodies the evolutionary path the SX range has taken in recent years. A path that, with the SX88, SX76, SX112, and then the SX100, has unequivocally demonstrated the concept’s ability to unfold into different dimensions. An evolution that has not limited itself to recalibrating the proportions of a basic design, but has led to the creation of boats with their own identities, equipped with features and design solutions that justify the positioning of each model within the range». Bernardo Zuccon

«We have been appointed as art directors for an intriguing real estate project in Miami. We are collaborating with a company that specialises in property development». Martina Zuccon

Sanlorenzo SL110A

The Sanlorenzo SL110A, another expression of the Asimmetrica line, is a project realised in collaboration with Piero Lissoni.

The Oblò handle by Razeto e Casareto is the result of a collaboration with Zuccon International Project, which developed its shape.

Wait a minute… The last time I interviewed you, in 2023, you mentioned a project that you and Martina were working on: building the world’s smallest superyacht. If I’m remembering correctly, you were discussing it as if it were its own thing, not part of the studio’s main project. Martina: Let me answer that. The project is still ongoing; we have developed it and even obtained construction estimates, but we have temporarily halted work on it.

Why? The costs are high, and, as Bernardo mentioned earlier, we have decided to invest in something new and truly beneficial for the Zuccon International Project and the growth of the entire team, without exception. That said, the ‘little superyacht’ itself will likely become the focus of this new course.

By which you mean? Let’s get to the heart of the matter. Bernardo: We will make an official announcement shortly, but I can tell you that the studio has given birth to a new offshoot – In this case, the new Zuccon International Project branch will be called hubZeta, and the leading project is a semi-transparent roller shutter hatchway created in collaboration with Parema. The new company will deal with projects linked to the sea. It will also address components, and one of our long-standing collaborators will lead this initiative. From an operational perspective, we will take a step back. We were inspired by a straightforward slogan we read at the last Boot in Düsseldorf: “We love water”.

Villa 375 South, Hibiscus Island, Miami

Let’s get back to the point. Please… Bernardo: We’re talking about smaller boats, and now I fall silent. However, regarding the components, the hatchway’s project will be unveil at the Mets trade fair in Amsterdam in November – it’s an event we’ve always attended as mere onlookers. This is therefore something entirely new for us.

You with Sanlorenzo and Bluegame have been collaborating for some time establishing a partnership that has led to the creation of wonderful yachts. What awaits us at the boat shows this September? As is traditional for this shipyard, we have some important boats. Indeed, the SD132, flagship of the semi-displacement line, of which we have taken care and are very proud, both of its exterior lines and interior decor. You will also see the SL110A, another example of the Asimmetrica line, created in collaboration with Piero Lissoni. Then there is the SX120, a yacht that continues the successful legacy of the SX line, which began with the 88. Bluegame will be presenting its new multihull, the BGF45, which is equipped with foils.

Bluegame BGF 45

Zuccon International Project has leveraged its multidisciplinary expertise as a key strength. Whether designing a house, a boat, an office, or a yacht, the fundamental principles remain the same.

Good. Any other news? Martina: We have been appointed as art directors for an intriguing real estate project in Miami. We are collaborating with a company that specialises in property development, specifically building spec homes, Imago development. We are having a lot of fun, although I won’t deny that the risk is high. But we are happy to take it. The first villa, for which the interior design was developed in collaboration with Baxter Italia, is expected to be ready by the end of the year.

What’s more? Bernardo: At the Monaco Yacht Show, we will be presenting two partnerships with long-standing Italian suppliers who are experts in interior design. In collaboration with a talented Florentine artist, we have designed a decorative leather panel for the first company, and we are working on several projects with the second company. We will be presenting a ‘smart’ object for boats that can be used as both a seat and a table. It’s very intriguing indeed. Secondly, we will be announcing an unprecedented journey around the world in five chapters – or rather, five continents. We will be breathing new life into design objects by reviving the languages of folk art.

I suppose you can’t name names. Martina: Not for the moment.

The Azteca project, a refined wooden cladding that expresses a new way of interpreting the dialogue between art and design, was realised for Cadorin. Through a skilful balance of geometric shapes, optical illusions, and references to the decorative traditions of ancient civilisations, Azteca becomes a bridge between the past and the present, transforming cladding into an actual visual and sensory experience.

In 2004, Bernardo and Martina Zuccon officially joined the firm, gradually taking over its complete management.

I thought so. Barche will treasure these previews and is looking forward to learning more. In conclusion, it’s fair to say that the horizons mentioned above have been significantly broadened. You are grappling with the 15th century in a modern key: a sort of Renaissance created by Zuccon International Project. Bernardo: We are ‘functionalists’ by profession, but also somewhat bohemian. Certainly human and humanist. After all, art is everywhere, and we want to become architects of our lives.

Ambitious mission. Does being brothers help or complicate? It helps, it helps. We have succeeded in dispelling the legend that work and family must proceed on different tracks. At the basis of everything must be trust. It is the alpha and omega of a career path, whatever it may be. Bernardo and I trust each other unquestioningly.

The new headquarters of Zuccon International Project is located on Via della Camilluccia in Rome.

If I’m not mistaken, the family has grown. Benedetta, Bernardo’s girlfriend, has been working with you in the office since January. That’s right. She works in marketing and communications. She has a degree in psychology, which is always an advantage (smiles). She gets on really well with Martina.

Watch out! Two women like that together are an unstoppable force. In such an unstable world, plagued by tragedy, it is more important than ever to create an ecosystem that provides security and tranquillity and reduces stress levels – a kind of existential bunker.

What a wonderful declaration of love!

(Bernardo and Martina Zuccon – Architects of their own lives – Excerpted from Barche, September 2025)

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J&J Design, a creative journey

BARBARA BORGONOVO — Thu, 13 Nov 2025 07:32:20 +0000

In over forty years in the business, the Jakopin brothers, founders of Slovenia’s J&J Design firm, have created successful projects based on the exploration of efficiency, ideal shapes and functionality

by Sacha Giannini – photo by Andrea Muscatello

Every “creative journey” that J&J Design undertakes always begins with dynamic sketches, which exist suspended in a dimension that remains emotive and mysterious. This is a vital step in abstraction, aesthetic and functional exploration, perfection, and transition, establishing the fundamental bases of the project. They are the conceptual and graphic outlines of a journey of suggestions that can compress information, potential and solutions into just a few lines.

While recognising that drawing by hand is an essential emotional component in the creation process, the J&J studio also finds the use of modelling programmes necessary, with the integration of computational fluid dynamics (CFD) and finite element method (FEM) models. It is at the virtual design stage and during extensive tank and field testing of prototypes (ETFT) that their innovation begins to take shape, through simulations that can bring together lines, structures, and functions. However, it is impossible to design boats that evoke emotions if you don’t have a clear understanding of what you are developing will be used for, and you don’t feel any passion for it. And no computer or app can teach that.

«Today, what is most easily sold is comfort, or as the Americans prefer to call it, convenience, which appears less selfish… A comfort that is increasingly in demand, which once given cannot be taken away…». Jernej Jakopin

In over forty years of work, the Jakopin brothers who founded Slovenia’s J&J Design, have been able to harmonise frequencies, and the arrhythmias and eurythmics of the contemporary world through a design vocabulary and an abacus of raw materials that can link into tradition and innovation in several environments, from technologies to exploration of advanced composites up to design itself. Being able to listen and bring empathy, as well as a collective vision, from a range of skilled people has always driven their view of a boat that is genuinely able to take to sea. This is a boat that is not just quick but also resilient, comfortable, and one that can suit everybody. Dialogue, discussion, and culture have contributed to the excellence of performance and style, as well as precision and creativity, in a complementary dualism between biological and geometrical laws that govern their design projects. These laws follow physiological, psychological, and structural parallels with the worlds of medicine and architecture.

J&J’s work benefits everyone. They interpret their roles from a highly technological perspective, achieving results that make all the intended goals possible, as well as highly desirable and beautiful. Today, J&J is an internationally renowned centre of expertise in composites and hybrid technology for recreational boats.

Japec, born in 1951 and with a medical background in cardiological research, and Jernej, born in 1957 and formerly working in residential construction, share a family passion for the sea and boats, as well as a standard approach that looks to the future. They have the desire to deliver a perspective and hope, through continuous improvement, and have effectively opened up the way to innovative boats for international clients who appreciate the details and are also able to look beyond the horizon.

Slovenia, homeland of the Jakopin family, has been a crossroads of cultures that spreads traditions, a “multinational” country that is open to knowledge and languages. This has enabled the Jakopin DNA to more easily accept the influence of different cultures’ spirits and true natures, by developing universal solutions for international boats that transcend the limits of production and domestic tastes. As when in the 1970s, the Volkswagen Golf effectively opened up the frontiers to worldwide car exports, by sealing in the performance levels, practicality and low fuel consumption of national champions like France’s 2cv, Italy’s Fiat 600, and Germany’s Beetle, in 1983 J&J revolutionised yachting with the Elan 31 and opened itself up to the culture and habits of boat owners in a way that made everybody happy. Using simple solutions and details, they made themselves liked by the French, Italians, Germans and other Europeans as well as Americans and Australians, and destroyed the idea that a boat had to be polarised within a monoculture.

The Greenline 33 H was not designed to appeal to emotions or to be a commercial product; it had to offer a rational reason for purchase. It became one of the first hybrid motorboats to feature diesel, electric, and solar propulsion. Offering zero-emission, silent navigation and a constant 110/230 V AC power supply for services, it was also convenient, easy to use and environmentally friendly – all at reasonable, competitive prices.

With courage and pioneering effort, they have strongly supported the development of new environmental and performance standards. Their design reflects the narrative promised by the boats, as well as their real functionality. They embody the idea of the future, which is increasingly tangible and less distant, while also evoking something beyond themselves and the present moment.

By adopting the lessons of anthroposophy and the eurythmic work of connections and archetypal laws of contemporary language, Japec and Jernej Jakopin recognise that they have to resolve the compromise between function, construction and beauty, and between body and spirit, so that it becomes a tension of forms and spaces that puts people at the focal point of a fourth dimension – time – so that they can live in harmony with the boat and the surrounding environment. Their boats have been successful and have spanned time with their biomimetic hulls, drawing inspiration from nature’s best ideas. They are crafts that were born to travel through two very different fluids – air and water – and to mark the daring of the triumph of technology and innovation, in which beauty reflects the environment that becomes a place for all experiences and the foundation for every advance.

The Icon is a fully electric foiling boat. In collaboration with Christoph Ballin, Tobias Hoffritz and BMW, the team provided the design and engineering, as well as the models, moulds and test boat construction. They also conducted a study on composite technology, using vacuum-infused vinyl ester/carbon for the hull and a combination of carbon/epoxy resin and stainless steel for the appendages. BMW Designworks designed the superstructure and interiors.

J&J’s work primarily conveys a desire to “work” for everyone. They view their role as mainly technological, which means that all goals can be achieved and can even become highly desirable and beautiful. They use an approach to design that communicates the functions it serves, but also informs on how it does so, and provides (within traditional solutions) details that are enlivened by a strong technological element and innovative materials. This means that the details become a democratic expression of excellence in which functionality, cutting-edge design and tradition create the mould for models that will be appreciated everywhere.

The Bénéteau ICC 70, an Island Cruising Concept, is a boat that sails at over four knots using only solar energy.

«Nowadays, the physical and mental effort required to go to sea seems almost forbidden. As a doctor and freediver, I believe that avoiding this kind of activity is detrimental to both the body and the spirit. You age earlier because you never get the chance to train properly. Boats should promote an active lifestyle and help people of the middle class live long, rich lives, rather than encouraging physical and mental immobility!». Japec Jakopin

The details of individual projects are drawn by hand and are used to create 3D models.

Their “journey” is a testament to overcoming adversity and an example of the ability to look beyond cultural, geographical and political boundaries. Marked by successes, encounters and historical events, it saw and experienced the progressive dissolution of Yugoslavia and Slovenian independence, the war in the Balkans, and the 10-day war in Ljubljana. It left behind the great nautical crisis of 2008, fierce new competitors, and around 75,000 items bearing the ‘J&J’ signature. These include concept designs, preliminary designs, and naval architecture and engineering.

J&J has now become an international focal point for knowledge of composites and hybrid technologies used in yachting, mastering techniques ranging from the mixed use of epoxy resins and carbon fibre to solar-powered zero-emission projects. These projects include the superyacht Green Explorer for Rossinavi and the nine-metre tender Elektra. They have also run projects for Dufour, GibSea, Grand Soleil, and Sunbeam, and designed nearly all of the Bavaria range from 1992 to 2008, serving as exclusive suppliers of concepts, design projects, and engineering for 87 models. The 44 and the 49 are especially memorable boats that gained universal acclaim. The partnership was restarted in 2016 with the development of a new flybridge motoryacht, the Bavaria R40.

GL45 Coupe.

A lot of what they have created for a whole range of yards have achieved iconic status in the yachting world, examples being the Sun Odyssey 51 (1988) and the 45.1 (1994) for Jeanneau, the 44 (1990) for Sunbeam, the 46.3 (1996) for Cantiere del Pardo or the 39 (1997) for Etap. The carbon fibre sailing performance cruisers, such as those featured in Shipman (2014), together with the powered semi-planing Skagen (2007) series, are in-house projects that draw heavily on the motor-yachting tradition and also drive innovation in the sailing world. Boosted by what they had achieved with Shipman, in 2008, they decided to produce a concept that could utilise comfort, simplicity, performance, and price to win over a new generation of weekend yachtspeople. In October of that year, despite the trial launch occurring at the beginning of an unprecedented crisis in the sector, the Greenline Hybrid 33 sold 550 units in 28 countries over just a few years.

They opened the J&J yacht design studio in 1983 and began designing hulls for third parties, such as the Elan 31. More than 900 units of this model were built in just a few years, followed by the 33 and 43. In 1989, they established Seaway Technologies, a company with the capability to combine all the necessary engineering, architectural and IT skills to ensure a comprehensive boat development process, from design and prototyping to final moulds. Having received almost 130 international awards and completed over 400 projects for around 70 boat builders from at least 30 countries, the studio is now one of the best-known and most respected in the world. Its clients include some of the leading shipbuilders, such as Aquila, Bénéteau, Catana, Fairline, Hanse/Fjord, Iconic Marine, Donzi, Fountaine Pajot, and Sunseeker.

The J&J Design studio has inspired generations and new avant-gardes by balancing aesthetic beauty with functional prowess, in many cases improving the experience of navigation and comfort according to the “KISS” (Keep It Simple, Stupid) principle of leaving “things simple”.

They work in Slovenia in Ljubljana (design department) while at Bled they develop models, moulds and prototypes. They are probably the only firm known worldwide for providing production-line yards with a comprehensive development process for a boat, from concept to design, encompassing both internal and external aspects, as well as naval architecture, engineering, and series testing. Ever adaptable, they are fans of electric mobility and advanced composite materials, having recently worked with BMW and TYDE to create The Icon. The best way to make yachting more ecological is through exploiting solar power, the work that J&J recently carried out alongside Bénéteau, with the engineering design and creation of models, moulds, and the testing and checking of the first two Island Cruising Concept boats – an essential confirmation of sustained work in design for responsible and sustainable yachting. The “monomaran” Island Cruising is a holiday boat with a hybrid hull, something of a minotaur, featuring a monohull bow section but a stern part divided into two by a tunnel. It has 4 kW of power supplied by solar panels on the hardtop, which drive the boat using two 10 kW Fischer Panda pods, delivering a top speed of 8.5 knots. A generator set provides around 300 nautical miles of range with a full tank, even without using solar power. The deck covers thirty square metres, an impressive area for a boat of just 14 metres in length, and this can be further extended with two side platforms that open out from the cockpit. With a draught of just 85 centimetres, you can get close to the shore nearly everywhere. It is a revolution in both style and use that Bénéteau is seeking to introduce as a new mode of powered coastal travel.

(J&J Design, a creative journey – Barchemagazine.com – Excerpted from Barche, August 2025)

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Pierangelo Andreani – Far from stereotypes

BARBARA BORGONOVO — Mon, 15 Sep 2025 13:52:36 +0000

Pierangelo Andreani is a man of great human and professional depth. A gentle legend that all young designers should be inspired by

by Chiara Risolo – photo by Andrea Muscatello

Pasticciare: to operate, proceed in an activity without order or method, with little or no precision, due to inability or inexperience, listlessness. As per the Italian dictionary, the definition is as far removed as possible from Pierangelo Andreani. Yet, when talking about himself, the master of the hand-drawn line often uses this verb, almost as if it were a filler word, which is strange for a man like him. In his 55 years of a highly honourable career, he has authored authentic road and sea emblems. He is the father of the legendary Maserati Biturbo and Ferrari Mondial 8, to mention a few examples, but also of an endless number of Guzzi, Cagiva, Benelli motorcycles and boats registered under the names of Cranchi, Bénéteau, Fountaine Pajot.

Is it false modesty, then? Not at all! The truth is that Pierangelo Andreani has always been an intimate friend of the pencil, so much so that he could afford to be somewhat lighthearted with it and have that right amount of disenchantment typical of anyone with a razor-sharp brain. He consumed kilometres of graphite mines on his school desks: “During lessons, there was never a blank sheet of paper that I wouldn’t mess up with some doodles. Cars, motorcycles… I also enjoyed drawing portraits of my classmates, especially their caricatures”, he remembers. Andreani tends to avoid fancy words, widespread English terms in his Italian language, and all that trite narrative cliché that usually characterises the speech of die-hards who seek out the wow-effect at whatever cost. He is a man with his feet solidly planted on the ground, concrete, rational, and subdued, even if he can fly.

The skills he has acquired over time allow him to move from designing an e-bike to a coffee machine, from a boat to a refrigerator, from scooters to burners. This eclectic versatility is a strength.

«No regrets. When Pininfarina called me up, I ran there as fast as possible. At the time, at Fiat, there was an atmosphere I wouldn’t know how to describe in words. I remember that we designers felt… useless».

Raised on bread, engines, and graphite, he fulfilled his childhood dream: to design cars for the big coachbuilders. With a diploma as a surveyor in his pocket and a backpack strapped on his back, he left his natal town, Sondrio, to conquer the world without sharp elbows. First in Fiat, where he only stayed 14 months, not a month longer, even if – we must point out – he left an indelible mark, i.e. the model (except the headlights) of what would later become the Ritmo. “At the official launch of the car, I was already in Pininfarina, and this migration made any possible authorship over it go up in smoke”. The kind of stuff that would keep you awake at night, and yet Andreani didn’t flinch. “No regrets. When Pininfarina called me up, I ran there as fast as possible. At the time, at Fiat, there was an atmosphere I wouldn’t know how to describe in words. I remember that we designers felt… useless”, he thunders calmly.

“In any case, apart from the Ritmo chapter, I have never pontificated about my projects. It is not just a natural attitude towards discretion, I believe it also concerns a generational factor. When I started in this profession in the 1970s, young people – including myself – who worked for important and highly structured companies were perhaps unaware of it. At the time, no one was eager to stand out. During the week, I was busy drawing dreams – Ferrari, Maserati, Jaguar. Sure, but on weekends, I would go back home, spend my free time with friends who almost didn’t even know what I was doing in Turin”, he explains.

Pierangelo Andreani began his career as a designer 55 years ago. In December of 1970, he joined Fiat’s Style Centre, and after the experience in Pininfarina, he worked for Moto Guzzi, Benelli, and Maserati, which De Tomaso controlled at the time. In 1981, he opened his studio and continued to work in the automotive industry for Cagiva, Yamaha, Renault, Nissan, Mazda, and Toyota. In 1987, he began his consultancy for Nova Design in Taipei (designs for SYM scooters and industrial design). In the nautical industry, he started with Cranchi, a collaboration from 1975 to 2004, and then went on to Bénéteau and Fountaine Pajot. Worthy of note are his collaborations with Colombo and Besenzoni for various nautical accessories, Selva design for engines, boats and dinghies, and Blue Water, the Taiwanese yard, for which he designed the 42-foot hybrid boat.

Speaking of young people, it would be impossible not to ask him what he thinks of people today who decide to pursue a career as designers. “They have many more tools available compared to the ones we had. There are many dedicated design schools today, but I think these institutions are mostly money factories, a way of doing business. It’s absurd to assume that the market can absorb thousands of new designers annually. And then, you know, everything is designed today, and the true short circuit is inherent in the word itself. I smile when someone says: ‘I bought a designer chair’. I then ask them: ‘But is it comfortable?’ Answer: ‘No, but it’s design’. Well, then it’s crap, I think to myself’”.

For Bénéteau, Andreani has designed the new Gran Turismo range, characterised by linear simplicity and sportiness. It is designed for a life on board that is focused on outdoor activities thanks to its large balconies and proximity to the water, not forgetting a wheelhouse that can be closed and air-conditioned, just like a real Gran Turismo.

On the other hand, the ones produced by Andreani’s pencil are actual boats in all respects – beautiful and able to sail, as the common-sense textbook prescribes. Initially, Cranchi was one of the first yards to use fibreglass. That was back in 1975. The stylist (he prefers to define himself that way, rather than designer) created both the exterior and interior designs: “I designed hundreds of boats a year, which were then put into production. Numbers that are unthinkable today, moreover, with the great advantage of having only one interlocutor, and therefore great freedom of action, another detail that would be equally unthinkable in our day”.

«When they asked me to renew the range of trawlers at Bénéteau, it was imperative to respect the cost limitations. And in the end, we succeeded. It wasn’t easy because you must develop a valid, quality product that avoids waste».

It was already unthinkable during the later collaborations with Bénéteau and Fountaine Pajot, after the happy decades at Cranchi. “Working for large groups forces you to deal with several different minds. You must tackle precise instructions related to cost containment, with constraints that make you turn up your nose sometimes, but the guidelines are part of the game. I can quote an anecdote that comes from the automotive world but is rather emblematic: when I designed the Maserati Biturbo, I asked about the bulk of the engine, seats, and about what they expected to fit into the car, and De Tomaso answered ‘don’t worry, you just make the drawing. I’ll kick the engine into it if I must’”.

Science fiction, prehistoric times. Who knows… Pierangelo Andreani was lucky enough to experience the First and Second Republic of boating and become familiar with its vices and virtues. Always with that healthy disenchantment that makes him a true professional. And not a star.

(Pierangelo Andreani – Far from stereotypes – Barchemagazine.com – Excerpted from Barche, July 2025)

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Mar Garrente – A strong visual impact

BARBARA BORGONOVO — Fri, 05 Sep 2025 09:35:18 +0000

The artwork, promoted by Sacs Tecnorib and created by Christian Grande with the support of Henraux artisans, is part of a dialogue with the past. It recalls the Futurist Manifesto, which exalted the energy of movement and innovation

by Massimo Longoni

Design has always been a fundamental driver in the design of Sacs Tecnorib boats. More than a stylistic choice, it represents an identifying and strategic element, capable of combining form and function, innovation and emotion. This philosophy inspired the creation of Mar Garrente, a sculptural work that celebrates the perfect synthesis between tradition and avant-garde. Created by Christian Grande, in collaboration with the artisans of Henraux, the work is a significant tribute to Futurism of the early 20th century. This artistic and cultural movement celebrated modernity, speed and the dynamics of contemporary life. This artwork is part of the current era, characterised by rapid change. It also reflects on how modern innovations shape the present, highlighting speed as a symbol of progress and achievement.

«We wanted to capture the stylistic elements, the distinctive features, the striking lines and translate them into something iconic». Christian Grande

Christian Grande and Nicola Antonelli shared the design philosophy behind Mar Garrente, a marble sculpture crafted by Italy’s finest artisans. The work encapsulates the stylistic essence of Sacs boats and conceals several key elements that will feature in the shipyard’s future models.

“Art is a means of transcending the boundaries of time and space to embrace the speed of our era”, said Christian Grande. Made of white marble, Mar Garrente is a powerful symbol of the passage of time between the past and the future. This traditional and timeless material, reminiscent of classical art, establishes a dialogue with the historical roots of sculpture, giving continuity to a realisation that embodies the movement and energy typical of modernity. This work becomes a visual experience transcending time, stimulating a deep connection between historical moments.

The work invites visitors to discover how art and design can coexist harmoniously, transcending their traditional boundaries.

«Mar Garrente is a prelude to new projects. Innovation is another value that has shaped the history of our company, whose successes are due not only to Matteo Magni’s entrepreneurial vision but also to the courage to be pioneers in many ways in our sector. Driven by a passion for what we do and a desire to excel, we invest time and energy in researching styles that can evolve the design of our products, just as we do in the technical aspects, seeking the perfect balance between form and function». Nicola Antonelli

The work powerfully expresses the sense of speed through its engraved lines, as if they had been modelled by the action of the sea and the wind, evoking the image of a boat cutting through the waves with elegance and speed, leaving behind a scratched sea. Each line and each scratch is not simply an aesthetic manifestation, but represents the imprint of wind and water, symbols of the imaginary speed of this boat. The idea of swift movement creates a fascinating tension with the marble, symbolising durability and permanence that seems to escape all limits.

Its creation took several weeks, covering all stages of the project, from the creation of the design to the selection of the block of marble, through to the production phases, which alternated between the technological component, involving diamond-tipped drills, and the craftsmanship of Henraux’s expert finishers, who shaped Mar Garrente by hand.

Bold and “roaring”, this sculpture also suggests a kind of “loud visual noise”, reminiscent of the shrill rustle of wind and waves broken by the hull; a perception inspired by the forms that enriches the overall experience and makes the work seem alive and vibrating. Nicola Antonelli said: “This stylistic exercise was not intended to be a celebration of itself or an end in itself. The work, reworked in a futuristic key by Christian Grande, is derived from a product concept that represents a high-performance and innovative sports coupé boat.

(Mar Garrente – A strong visual impact – Barchemagazine.com – Excerpted from Barche, June 2025)

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Filippo Salvetti – Life in Balance

BARBARA BORGONOVO — Wed, 30 Jul 2025 10:29:09 +0000

As a student, the architect from Bergamo had very different plans for his future. But a certain Mauro Micheli made him fall in love with boats. Objects that he “treats” with the utmost care, using the most sophisticated technologies, but always nurturing the sacred fire of freehand drawing, an exercise that he considers indispensable and full of fascination. With an exact and ambitious objective: the creation of boats that are objectively beautiful and functional. Without any ifs or buts

by Chiara Risolo – photo by Giovanni Malgarini

A rocker, yes – he owns and plays 34 electric guitars – but not damned, quite to the contrary. Despite his full head of hair, which is as thick as it is indomitable, and his Sauvage beard, Filippo Salvetti conveys an image of himself which is delicate and deeply intimate. The cuffs of his shirt suggest a certain pragmatism: he prefers wearing them rolled up in true Garibaldian style, allowing him to move more freely at his desk without the annoying grip of buttons and other knick-knacks. A private person to the extent of seeming almost prude at times (many people with much fewer merits would look down upon the world from their high horse), he confesses that when he graduated in architecture from Politecnico di Milano, boats were not even remotely on his mind. “I came to Mauro Micheli and Sergio Beretta’s studio – Officina Italiana Design – almost by chance and then stayed there for several years”. That’s right, all the years he needed to learn the craft of his dreams and become one of the most authoritative pencils in the world of yachting.

Custom Line Navetta 38.

«The design of the Custom Line Navetta 38 focuses on the pursuit of timeless classicism, the defining element of the Custom Line range, through a balanced and harmonious stylistic language. This yacht is the perfect synthesis of nautical quality and elegance. The simplicity of the lines remains the key to interpreting the project, expressing a luxury that is never ostentatious and a stylistically refined contemporary design».

Let’s begin our talk with one of the recent most debated and controversial issues: the haemorrhage of archistars in shipyards. I don’t think this migration is an absolute evil; in any case, some of these high-sounding names have helped jolt the system, which was much needed. This being said, I think we need to make some distinctions. The intervention of an architect “from outside the industry” on larger ships makes sense; it gives further lustre to the yard and the product, but if we are talking about smaller boats, for instance, 50-footers, it is essential to have specific skills to rationalise spaces best, to keep a perfect balance between the famous pair form-and-function. In brief, this is done to prevent any damage.

«Archistars in the nautical sector are not an absolute evil. On the contrary, their migration has enlivened the market. It was necessary. Then, of course, distinctions have to be made. It’s one thing to work on big boats; it’s another to get your hands on a 50-footer».

Custom Line 50.

Custom Line 50 is the shipyard’s new displacement flagship and marks its debut in the under 500 GT metal yacht market segment. A language of timeless classicism characterises the exterior design. The lines and shapes are essential and clean, with a predominance of horizontal readings that give this vessel a sporty character without compromising the elegance and harmonious style.

For about ten years now, you have enjoyed the complete trust of Ferretti, one of the most important groups in the nautical industry. You are the undisputed expert on “heavy-duty” brands, such as Ferretti Yachts and Custom Line. Working on an exclusive project for a yard means respecting precise stylistic traits, as any design must spring from a powerful DNA that should not be distorted, out of respect for the clientele, while also trying to innovate. Contrary to what you might think, these stylistic “restrictions” are not obstacles but rather a stimulating challenge.

Ferretti Yachts 1000.

The exterior design of the Ferretti 1000 saves the family feel of the other smaller yachts in the fleet, but the addition of the two stern and amidships prominences makes the profile even more harmonious at this size. The overall balance of solids and voids is better, and the image is very contemporary

«Working for a large group like Ferretti is stimulating because, although I start from a precise DNA, I can add an element of novelty each time».

Ferretti Yachts Infynito 80.

With an overall length of 23.70 metres and a maximum beam of 6.32 metres, the Infynito 80 has a fast-displacement hull optimised to improve fuel efficiency and minimise environmental impact. This yacht combines the solar energy collected by the photovoltaic panels installed on the hardtop and the roof of the all-season terrace with an energy bank that allows you to enjoy life on board in ‘hotel mode’ for up to eight hours at anchor.

Ferretti Yachts Infynito 90.

The Ferretti Yachts Infynito 90 is inspired by explorer vessels and boats designed to travel long distances in total comfort. It has an overall length of 26.97 metres and a maximum beam of 7.33 metres. As with the 80-foot model, it features Ferretti Sustainable Enhanced Architecture technology, a package of environmentally friendly solutions. The most important of these is an integrated system that combines solar energy collected by photovoltaic panels on the superstructure with an energy bank of lithium batteries, providing up to eight hours of autonomy on the road in zero-emission and zero-noise mode.

Sure, but it is true that when many minds work together on the same project, the path can be more tortuous and often uphill. I am thinking about the so-called strategic product committees and style centres. In the Ferretti Group, the strategic committee is chaired by Piero Ferrari, an engineer who, coming from the world of cars and car design, has a good feel for proportions and lines and the ability to understand the strength, beauty and potential of a project without necessarily having the final renderings complete with animation on his desk. So I would say that as far as I’m concerned, I have no objections.

«Mauro Micheli is an absolute genius. A pure artist with a beautiful hand. I learned from him by watching him. I ‘stole’ his art».

You just mentioned certain stylistic restrictions, yet the Infynito range by Ferretti Yachts is unquestionably “something” that didn’t exist before – a sort of break with the past. In reality, Infynito is the litmus test of what I just mentioned. It was not evident that I would receive a favourable reaction from the product committee, as we are talking about a ship of impressive size, with a large bow, tall and open. Yet, they liked it very much. The Group fully understood the essence of the project. In addition, the fact that the competing yards are now working in the same direction, well, to me, is further confirmation of the success of this range.

Bugari Yachts 100’.

In 2014, he started designing the new range of Bugari Yachts, all between 70 and 120 feet long and with planing hulls. He revamped the entire 30-60 foot Atlantis range for the Azimut Benetti Group, designing the interior and exterior.

Regardless of the acclaim or lack of acclaim from industry experts and, more in general, from the market, when can a boat be said to be truly beautiful, no ifs or buts? Three words: proportion, simplicity, clean lines. When all this is in balance, the boat, whether small or large, is pleasing to the eye; it’s easy to code. That’s also what Mauro always said.

You mean Micheli, I suppose, your mentor? The boat whisperer… I started working with him a few years after I graduated in architecture. I went to his studio from time to time because I was working with other design studios, but then I stayed there for eight years. Mauro is the man who passed on his passion for boats to me. He’s an artist, he has a beautiful, inimitable touch. I learned a lot just by watching him. He didn’t explain, but I ‘stole’ his art when he was working (he smiles).

Ferretti Yachts 580.

Speaking of beautiful hands, you’ve been definited the trait union between those who drew with a pencil and those who dish out dozens of renderings a day with the new software we have today. Very true. I think it was a good time for me to start because, on the one hand, I was lucky enough to work with people who knew how to draw by hand, so I was able to refine my art. At the same time, I was already quite familiar with modelling and rendering software.

48 Atlantis

It’s a winning double track. I may be a romantic, but I admit that hand-drawing has an incomparable charm. Sketching on paper is, and always will be, the most natural and intuitive way to express initial ideas. It is in the freehand sketch that the clearest ideas are perceived, those that stimulate a receptive mind to imagine the future form and expression of the finished product. But we also welcome the technology that now allows us to create projects with surgical precision, leaving nothing to chance or interpretation, and to present them to the client as if they were already there.

…As long as the projects still contain proportions, simplicity, and clean lines. Absolutely. I would add that every project follows a set of guidelines, almost like a skeleton. If the skeleton is solid, the project, regardless of its direction, will be a success if it maintains its structure.

The team of Filippo Salvetti’s design studio: top right, Luigi Livia, top left, Carlo Maj, bottom right, Michele Bonetti, bottom left, Matteo Maj.

(Filippo Salvetti – Life in Balance – Barchemagazine.com – Excerpted from Barche, May 2025)

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Fulvio De Simoni – Accuracy and Beauty

BARBARA BORGONOVO — Tue, 24 Jun 2025 07:47:15 +0000

Fulvio De Simoni has always made rigour the hallmark of his work. Ethics, balance and beauty are not the result of coincidence but indispensable elements of every designer’s baggage

by Olimpia De Casa – photo by Giovanni Malgarini

As with any important appointment, the eve of the event inevitably brings with it a load of expectations, curiosity and anxiety. My first interview with Fulvio De Simoni, more than many others, confirmed the rule of expectation. Perhaps it is because the designer has a reputation for not being an easy person to get along with, maybe it is because of the depth of his nautical culture, or perhaps it is because of his predisposition to express his thoughts without mincing words; the fact is that the planned meeting caused me a certain apprehension. The compactness of the enormous gate that delimited the private space that would have welcomed me only added to the feeling of hesitation and awe that had become a cumbersome presence. I decide to get rid of it quickly. As soon as I crossed the threshold, I set off on foot along the gravel path, inebriated by the scents of the forest and the landscape that gradually unfolded before me.

Pershing 9X

Fulvio De Simoni has a historic collaboration with Pershing, the shipyard for which he and his team have designed all the boats except the GTX80. Starting in 1985 with the design of the 45-footer, over 2,000 units have been launched. In 2000, the 88 was featured on the cover of the world’s leading magazines, with over 50 publications.

Fulvio De Simoni, his wife Isabella, his collaborators, and a sea of images and objects that testify to the taste for Beauty (the capital letter is not superfluous) have accompanied a career full of achievements and successes. A job that began in 1972 and has not only brought satisfaction and fame to its creator but has also been able to set many milestones in the chronicle and grammar of yacht design, as well as in the narrative and debate surrounding a professional activity that began at a time when the profession of yacht designer was still largely unwritten.

Pershing 170

Designed by Fulvio De Simoni, the Pershing 170 is a 51.8-metre superyacht. It will be the largest in this series and built in aluminium at the Ferretti Group’s Ancona shipyard.

Pershing

“It all started in the Cinque Terre, where I grew up, when a friend, knowing of my passion for boats, urged me to go to Milan to chat with his cousin, a designer with a studio that had started up. That’s how I met Alberto Mercati, who suggested I stay and work with him. It was a daydream: I was still studying and had the chance to work with one of the few realities already in the vanguard. Then, in 1977, I founded Yankee Delta with Massimo Gregori, another studio collaborator. We worked together until 1983, when I became the sole owner of Italprojects, a company specialising in developing high-tech projects in the industrial naval sector, which is still active today. Then, in 2015, to involve my closest collaborators, we founded Fulvio De Simoni Yacht Design, in which Enrico (Lotti), Cristiano (Tonarelli), Giuditta (Napoli), Francesco (Ferrari) and my wife are partners”. The team’s skills allow the studio to express itself in every aspect of the project, with a natural and growing specialisation in exterior and interior design, but with the technical skills acquired over many years of activity behind it, enabling it to tackle each new job autonomously and creatively.

Pershing GTX116

The Pershing GTX116 is a sports yacht where every weight on board is optimised for high performance. She has a top speed of 34 knots and a cruising speed of 29 knots and is equipped with a triple water-jet propulsion system combined with three MAN V12 2000 engines producing 2,000 hp.

“I was involved in every aspect of the project for at least 30 years”, explains Fulvio De Simoni. “This was because a professional studio needed to offer a complete service, including, for example, the design of hulls and systems. Then, with the continuation of the business and the ever-increasing specialisation that is needed in the work, we dedicated ourselves mainly to the conception of the boat, the cutting of the interiors, the design of the superstructures, the general architecture, preferring to leave the in-depth study of the issues to the technicians and engineers. This is also because the construction sites with which we collaborate, which used to be ‘our responsibility’ as far as design is concerned, have also become larger and more structured, with decidedly important in-house technical studies. Suffice it to say that the Ferretti Group’s superyacht shipyard in Ancona, which builds the Pershing 140, employs around fifty highly specialised professionals. I remember that at one point, we were confronted with a technician dedicated exclusively to studying interference (EMI, ed) and, therefore, the correct installation on board the various antennas. In other words, it was time to take a step back and intelligently leave room for each professional to contribute. In this way, each new vessel becomes a participatory vehicle for various complementary contributions, improving design and construction quality”.

Rossinavi Aurora

Rossinavi

Fulvio De Simoni designed the Nolimits range, which consists of five explorer yachts from 30 to 63 meters for Rossinavi. The 50-meter Bel1, the 49-meter Franklie, the 50-meter Aurora and the Seawolf, a catamaran with a length of 42.75 meters and a maximum beam of 13.75 meters, characterised by hybrid propulsion and ample outdoor space, among which a 100 m² saloon and lunching area, five guest cabins and four crew cabins.

Do we essentially live and work in a very different world from the one you started in? Undoubtedly. The times are long gone when Norberto and Alessandro Ferretti would come to Milan – the first studio where I started my career alongside Alberto, who had already worked at Riva and had significant experience in the field – and say: ‘We thought we’d come to see you because we’re car dealers from Bologna, but we want to build boats…’. The relationship with the builders has also changed radically: when I liked boating, there was a direct, continuous and therefore profitable comparison with those who built the boats. Nowadays, the big boatyards think they can do it all themselves, delegating to a whole series of people who, in a top-down organisation, always seem to have to go around someone else. The result? You never know whether the objection they put to you is pro-domo propria or pro-domo in general. If you don’t have a direct dialogue with the person concerned, the relationship becomes colder, based only on numbers, and I don’t like that. I don’t like dealing with people who give you the example of someone who has managed to build a boat with an extra two square metres of flybridge. I think it is no longer critical who builds boats well but who achieves an inevitable turnover.

Isa Yachts

Architect De Simoni has designed the new Viper 100 and 130 models for Isa Yachts by Palumbo Superyacht. The Viper 130 has a composite hull and superstructure with carbon reinforcements. It is a planning boat powered by three MAN engines of 2,200 hp each with a top speed of 33 knots.

What are the key features of the ‘perfect’ or at least ‘right’ boat? Let’s start with the basics: most boats launched today could be described as ‘mudskippers’. That is to say, they have to be filled with everything, they have an ever-increasing volume, the spaces inside, outside and underneath are becoming increasingly important, and they have bows that, instead of sliding, fight with the water and do all sorts of things. First of all, the boat must not be a ‘mudder’. It has to be different from the ones they make now. This is also true of some of the ones they commission from us: they are the designs they have made, having had this kind of input.

Antonini Navi

Fulvio De Simoni has developed several projects for Antonini Navi, ranging from 35 to 70 metres. The brand is the brainchild of Aldo Manna, who was the first to recognise the untapped potential of the Marina di Pertusola site and the entrepreneurial strength of the Antonini Group.

How did this scenario come about? Boatbuilders have a bad habit of comparing the square metres of interiors, cabins, bathrooms, and salons to show that they always offer more than others. The first to do so, obviously unprepared, have ruined the medium-sized boat sector. The struggle to enlarge is soon done: it swells, enlarges, and rises. The result is boats that have become unidentifiable, shapeless objects. In other words, cubes designed by people who do not know how to draw, for whom the only important thing is that they have a vertical bow, a vertical stern, vertical sides, a flat roof, everything as big as possible, as long as it is ‘modern’, like the Range Rovers from which they have also removed the handles. OK for ‘modern’, but everything should work and have logic. Instead we see boats that sail badly because the weights are not where they should be and the volumes are larger than the waterline. So, to answer the question, to make a ‘proper’ boat, it must be far from all this, with completely different proportions and correct. In a sailboat, which is undoubtedly more beautiful, it would never occur to anyone to add two or three storeys to create more space. This is because they are used for different purposes. Motor yachts are increasingly becoming sailing hotels, so much so that there is even talk of how much hotel electricity there is on board, not to mention the plethora of interior designers who have flocked to the nautical world on the pretext of explaining the progressive future to us ‘poor people’ who design boats.

Fulvio De Simoni,
founder and CEO of
Fulvio De Simoni Yacht Design

Isabella De Simoni

Enrico Lotti, designer and partner

Cristiano Tonarelli, designer and partner

Ozan Copur, designer

Giuditta Napoli, designer and partner

Francesco Ferrari, designer

So far, everything you think a boat should not be. On the other hand, what are the right things to tick off from your point of view? Hulls that do not move too much water when they run glide well are fast because they are not heavy and do not contain ten thousand metres of cable because there are not a hundred thousand devils to open and close. Again, let’s take a step back and avoid abusing the ability of these hulls to hold ‘things’ on top so that they become less and less safe because the centre of the hull and all the measurements you take on board are constantly being pulled. Every time we build a new boat, we check everything with the engineer, who tells us right on time: It needs to be twenty centimetres or half a metre wider. Which, conveniently, we had already done. But he widens it anyway. This is because there is so much weight on it, so much volume, that you reduce the watertight zones and, in short, safety.

Austin Parker 100.

In partnership with Pininfarina, Fulvio De Simoni has designed several 77, 88 and 100-foot models for Austin Parker Yachts, an Italian yachting brand with commercial headquarters in Liguria and a production yard in Pisa, which was acquired last year by Turkish entrepreneur Baris Nalcaci.

Filippetti F100.

Fulvio De Simoni has designed a range of 80, 90 and 100-foot mega yachts for Filippetti Yachts. The first example of the new Flybridge 100 model was launched last year at the Marina dei Cesari in Fano. At 30.40 metres, the yacht is the largest in the entire Filippetti Flybridge range.

In short, I understand you like your job less than you used to. That’s the way it is. Everything moves so fast; everyone has an image of everything around them on their smartphone and copies everything. So, with computers, you end up levelling and flattening a lot. It is also true that you cannot aim to invent something every day: it is not easy or always useful. It is one thing to be able to indulge the desire to do something new and realise it. It is another to invest money in a novelty that, as such, may not necessarily be successful. In this second case, taking a step back or moving cautiously might make more sense. Let us say that the first person who decides to invest a lot in something new, something different, should perhaps be able and know how to wait. The most eye-catching example I have seen in my career is the simultaneous creation of the Pershing 115 and a yacht of the same size by another brand. Over time, it is fair to say that this yacht, with its highly innovative design, had a significant influence on everything that yachting would produce in the years to come. As far as subsequent development was concerned, my boat did not move much. A dozen were delivered, but only one was sold after many years. You must know how to interpret the moment and what you can and can’t do. Otherwise, you end up being a genius and an unruly person who takes pleasure and satisfaction in having designed a great novelty but creates problems for others.

«Each new vessel becomes a participatory vehicle for various complementary contributions, improving design and construction quality».

What does innovation mean to Fulvio De Simoni? To sit down in front of a blank sheet of paper and try to come up with an idea, not caring if someone else has already thought of it. Only in this world can you consider yourself free of conditioning, clean and free to proceed. That is why, as a matter of principle, I never board boats designed by colleagues. The world is so vast and full of insights and points of observation that you don’t need to go in and see how others have done it. You would, among other things, run the not-insignificant risk of receiving an imprint that might condition you, even unintentionally, to do such a thing. In design, you succeed in innovating when, without having to go and look at what is outside of you, you can offer the beholder’s gaze something unseen and, therefore, completely authentic, without having wonderment as an end in itself. Astonishment is épater le bourgeois; it is not necessary.

Enchantment, on the other hand, is good for the heart. And so, after spending a few hours in Fulvio De Simoni’s company, I will say goodbye to him, convinced that it is not true that he has a complex character, but rather the ability to distinguish at a distance what is beautiful and ‘good’ from what his eye does not perceive as such, to express his thoughts with determined honesty and frankness, and to avoid compromises and conventions that are harmful to his character and others. The journey to the exit is made by taking advantage of Giovanni’s passage. We stroll to enjoy a second time the scents and the views that do not fail to give us an unexpected still, that of a deer peeping through the rows of vines, adding a final memory of true beauty to a splendid day that has been enjoyed inexhaustibly.

(Fulvio De Simoni – Accuracy and Beauty – Barchemagazine.com – Excerpted from Barche, March 2025)

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Valentina Zannier – Drawing nourishment from art

BARBARA BORGONOVO — Tue, 25 Mar 2025 09:27:59 +0000

At the helm of VZ Interiors Architecture, Valentina Zannier talks openly about her loves and passions: family, work, animals, ballet

by Olimpia De Casa

Valentina Zannier, an established professional in the field of architecture and interior design, exudes taste, class and style from every pore. The love of beauty, in its highest and most complete sense, and of what is well made, well understood, well conceived, well developed and coherently realised, is strongly expressed in her works, as is the solidity of her values, the sensitivity of her soul, the intimacy of her passions and loves. “For my family, to whom I am very attached, and for my beloved Van Gogh, a reddish Maine Coon, hence the name, who is now ten years old and weighs nine kilos, a heavenly creature with whom I am incredibly in love”.

«AHPO (now Lady Jorgia), a 115-metre gigayacht launched by Lürssen in 2021, which I would describe as a “majestic” project, at the pinnacle of detail, precious materials, decoration and research. A project that has involved more than five years of work and a total commitment on my part».

Driven, it must be said, by the same feeling, I ask her what it means to live with Van Gogh in a city like Venice. “Very intense, vibrant, fulfilling and sometimes challenging because of the amount of hair he leaves everywhere and his tendency to escape. For many years he did not leave the house because he was running away, curious to discover what other roofs and terraces were hiding”. Her relationship with Van Gogh reveals a love of cats, but not only. “I am an animal activist, a vegetarian, I support associations all over the world. I would do anything for animals and I think I will continue to work for them in my old age. Another interest I’ve always had is ballet. It takes time, but I haven’t had enough time to practise it as much as I would have liked”. These passions evoke images of seductive beauty, the same ones that echo in Valentina Zannier’s interior design studies. Interestingly, she grew up in a very artistic family. “I have always been nourished by art. I would have liked to dedicate myself professionally to something more related to that world than the purely technical world of architecture”.

What changed your mind? Discussions with my family. My parents wanted me to have the opportunity to work, and a degree in architecture would certainly have opened up more opportunities for me than an arts or humanities education would ever have. I took up the challenge with determination, so much so that I started working in an architectural practice before I had even finished my degree. I wanted to be ready for the world of work without having to waste time on various sabbaticals trying in vain to “find my way”.

Looking at the “beautiful” and “well-done” things she has achieved so far, it is clear that Valentina Zannier, who was born in Treviso and lived there for thirty-five years before moving to Venice, where she has now lived for fourteen years, has approached each project with great skill, determination and boundless passion. These are the qualities she has developed in over twenty-two years of collaboration with Carlo Nuvolari and Dan Lenard, with whom she has created many of the most innovative projects of all time. “I had heard that they were looking for someone with a ‘good hand’, because in those days computer rendering was out of the question. We had fax machines and email was in its infancy. So I started as a simple graphics assistant. Over the years, I was given the opportunity to work on important projects and prove that I had the creativity they needed at the time. Then came the collaboration that lasted for sixteen years and the autonomy that was gained thanks to their trust, but also thanks to the success of some of the projects we worked on together”. With the opening of VZ Interiors Architecture in 2023, in the very heart of San Polo, Venice, this journey towards autonomy has obviously meant moving away from a very solid reality, which at the same time is very much identified with its founders.

«DAR, A 90-METRE OCEANCO GIGAYACHT WITH EXTERIOR BY LUIZ DE BASTO, HAS ALSO GIVEN ME THE OPPORTUNITY TO EXPRESS MYSELF. DELIVERED IN 2018, SHE CAN BE DESCRIBED AS TIMELESS, WELL DECORATED BUT IN MODERATION, ABLE TO SATISFY MANY TASTES».

Speaking of the stage, how did the desire to “dance alone” come about? I will always be grateful to Carlo and Dan for giving me the opportunity to work on incredible projects, but the time had come to create something of my own.

With regard to the client, how important is it for the success of the project to be able to empathise with the client? My work requires a very important human component. Especially in the early stages, I don’t think designers should impose themselves, but rather listen carefully to better understand the client’s vision. To move the relationship forward, it is essential to transform the input, often accompanied by photographs, drawings, travel stories or experiences, into something that makes complete stylistic sense. Time spent with the owners, perhaps even drawing with them, is always time well spent. Then there is the human relationship. For example, I usually talk to the ladies who are usually in charge of the interiors and furnishings. Our dialogue is therefore usually facilitated by the sharing of sensitivities and perceptions.

Architect Zannier continues to sketch the shapes, leaving the digital rendering to her collaborators. “During my first ten years at the Nuvolari Lenard studio, everything was done by hand. The drawings, which were extraordinary, looked more like paintings than tools in the strict sense of the word”. Masterpieces of art, you might think… “You have to offer exclusivity, solutions that have never been seen before. You achieve this level of customisation by employing talents capable of developing individual details to perfection”. The designer’s personal research is an important part of this teamwork. “It is crucial to be able to research and focus on very specific things. Designing a superyacht involves many different worlds, including carpentry, lighting and leather, to name but a few. Working with experts who can develop the full potential of use, decoration and performance opens up an incredibly wide panorama of stimuli”.

«BENETTI’S PROJECT ORO, AN 85 METRE GIGAYACHT. AS FOR THE INTERIORS, I CAN ONLY SAY THAT THEY ARE REMARKABLY DETAILED AND AT THE SAME TIME FRESH, CONTEMPORARY AND ELEGANTLY UNDERSTATED».

What else does a modern ship owner want? Openings to the sea, natural light, direct connections between inside and outside. Compared to the 2000s, boats have become much less formal in terms of layout. This trend is linked to the fact that owners are younger, used to large homes and have an innate desire to enjoy real, direct contact with the outdoors. I also think it is more consistent to offer them interiors that are closely related to the characteristics of a floating and sailing object, rather than maritime replicas of mansions or lofts in Central Park. This does not detract from the recreation of large spaces and immense glass openings, but one must be careful to emphasise the structures rather than hide them to make them resemble those of a house. In naval architecture, we should draw on the extraordinary heritage of the great ships of the past. I am thinking of the transatlantic liners, exceptional examples that taught us how to make interiors.

What would you say if I asked you to name the project that is closest to your heart? I would say at least three. Definitely Dar (a 90-metre Oceanco with exterior by Luiz De Basto, ed), which also gave me the opportunity to express myself. Delivered in 2018, she can be described as timeless, well decorated but in moderation, able to satisfy many tastes. Then there is AHPO (now Lady Jorgia), the 115-metre yacht to be launched by Lürssen in 2021, which I would describe as a “majestic” project, at the pinnacle of detail, precious materials, decoration and research. Nuvolari Lenard designed both the exterior and the interior of this project, which took more than five years of work and total commitment on my part. The management of these interiors required total dedication and an almost permanent presence on board during the last three months of work.

photo credit Andrea Muscatello by Barche.

The third job? Benetti’s Progetto Oro, an 85-metre gigayacht. As for the interiors, I can only say that they are remarkably detailed and at the same time fresh, contemporary and elegantly understated. Can I add a fourth?

Yes, sure. CRN M/Y 139 Project Njoy, a 72 metre yacht with a top secret interior that the yard has built to perfection. I consider it a “mini Ahpo” because this yacht embodies fantastic execution. I also mention it for the wonderful adventure I had with the owner, who was able to stimulate my creativity by challenging me every day to research, experiment and create. It is a project that has allowed me to spend a good part of my recent life with the owners, sharing dinners, trips and precious time.

«MY BELOVED VAN GOGH, A GINGER MAINE COON, HENCE THE NAME, WHO IS NOW TEN YEARS OLD AND WEIGHS NINE POUNDS, IS A HEAVENLY CREATURE WITH WHOM I’M INCREDIBLY IN LOVE».

What more can be said, except that Van Gogh’s sunflowers are definitely ready to seek the sun, to open up, to be illuminated and warmed by the emotion, elegance and harmony that Valentina Zannier’s work will bring to her and to those who wish to appreciate its essence and result.

(Valentina Zannier – Drawing nourishment from art – Barchemagazine.com – Excerpted from Barche, November 2024)

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Giorgio M. Cassetta – Beauty is truth, truth beauty

BARBARA BORGONOVO — Tue, 25 Mar 2025 09:11:27 +0000

Face-to-face with Giorgio M. Cassetta to talk about design, function, safety, aesthetics and quality of life on board

by Olimpia De Casa

Seeking beauty is a bit like seeking truth, where the concept of truth cannot simply be reduced to what “satisfies” and therefore comforts, and where the idea of beauty should go beyond the generic “what I like”. This is where we start recounting an interesting dialogue that exceeded expectations. This is because the interlocutor could argue his thoughts further than usual, meaning he exceeded the expectations of those usually accustomed to “standard answers”.

The image that Giorgio Maria Cassetta, born in 1983, conveys of himself is as intense and complex, in the fullest and richest sense of the term, as one can imagine. Midway between the “mad scientist” and the undaunted knight who has made a virtue of restlessness, he is a unique creative. This latter vein which also transpires in specific outfit details (see the “different” cufflinks worn under a tailored suit at the launch of Juno’s 7, Benetti’s first Class 44M, for which he was responsible for the exterior and interior), is always interspersed, like a centre of gravity, with a rigorous and precise approach and dialectic that suggests excellent knowledge, order and discipline.

Benetti Luminosity – photo by Nico Fulciniti.

With a length of 110 metres, it is probably the most technologically complex boat ever built in terms of innovation and technological integration. It is a truly remarkable peak and the pride of Italian yachting.

Rendering Benetti Class 44M.

Benetti
Giorgio M. Cassetta and Benetti have been working together for 24 years. “Our studio has had two main strands of collaboration: on the semi-series fibreglass boats, for which we have supervised the actual production for the years 2010-2020, i.e. the Delfino 95, the Mediterraneo 116, the Diamond 145, and on the fully customised boats over 500 tonnes, for which we have built or are building ten units over 60 metres”.

Benetti Metis – credits Jeff Brown.

Benetti Spectre

«Innovation is when you can throw your heart over the hurdle and decide that an efficient way is not necessarily to achieve something out of the ordinary».

Benetti B.Loft 65M.

The Benetti B.Loft brings contemporary living on board a mega yacht. The Cabana Club characterises it on the lower deck. The beach club offers a 270° view with folding wings to extend the space further. B.Loft combines the volume of a villa with the lightness of a loft, where the interiors reach a height of around four metres. At the same time, the exterior spaces, some of which can be converted into interiors, guarantee extreme flexibility and customisation.

CdM Tremenda

CdM Raw

Cantiere delle Marche
He has designed four yachts for the Cantiere delle Marche: the one-off 45-metre Tremenda (exterior design), the Deep Blue 155 (interior design), the RJ 100 (interior design) and the RAW 102 (exterior and interior design), designed to convey the powerful and commanding look that an explorer must have, without giving up the fun side.

His passion for the sea comes from afar but not from his heritage: “I started drawing boats when I was two years old and never stopped. I loved them, just as I have always loved the sea. I am a Sunday sailor; I love medium-small boats, where I don’t need a crew and am more in contact with the sea. This is where I return to the natural state, to the ‘wild’ life that empties your mind and helps you get back in touch with reality”.

He spends the other days of the week at work, travelling the world and in the studio he founded in Rome in 2015, two years after setting up on his own and after working on a series of essential jobs, first with Zuccon International Project and then with Andrea Vallicelli. Today, he leads a growing team of seventeen people. After graduating with honours in Industrial Design from the Sapienza University of Rome, Cassetta also gained some academic experience, having undertaken research work for some time at the Gabriele d’Annunzio University of Pescara. An experience from which he gained the propensity to share, an aspect that he continues to pursue with conviction in the studio, together with the other designers.

Tankoa 54 Grey – photo by Julien Hubert TWW Yachts.

Tankoa Yachts
Giorgio M. Cassetta has signed three different projects for the shipyard run by siblings Eva and Guido Orsi: the interior of the Grey, the fifth in the highly successful S501 series; the exterior and interior of the T450 Go; and the new Explorer version of the 45-metre boat, which is currently under construction.

Tankoa T450 C111.

«In terms of aesthetics, the challenge we set ourselves and try to meet daily is to create objects whose balance of volumes, proportions, voids and solids and decorative elements is as natural and pleasing to the eye as possible, even pushing us towards unconventional shapes».

What does innovating mean to you? Granted that today, the term, a bit like timeless or holistic, is perhaps among the most hackneyed and “dangerously” used, innovation, for me, has a precise meaning from a biological perspective even before design. Let me explain myself. We are biological machines programmed for self-preservation and, consequently, energy saving too. This means that our brain, accustomed to using neural pathways that have already been acquired, is driven to act through automated mechanisms that are based on harnessing experience from the moment we are born. Real innovation occurs when you decide not to use established paths and try to create new ones by forcing your mind towards something that is not biologically conventional. Innovation occurs when you choose to go off the beaten track, and this happens both biologically and within an organisation, within a company, when you abandon the absolute paradigm of efficiency: energy efficiency, on the one hand, and economic efficiency, on the other. Innovation occurs when you succeed in throwing your heart over the hurdle and deciding that an efficient path does not necessarily lead to an out-of-the-ordinary result. Moreover, this does not automatically turn out to be inefficient. It is simply outside the realm of predictability.

Among the many projects developed over the years by Cassetta’s firm for private clients and builders, such as Benetti, Venture Yachts, Tankoa Yachts, Cantiere delle Marche and Advanced Yachts, to mention but a few, there is one, the Cigarette Tirranna (spelt just like that with two “r”s), stemming from an extraordinary instance of intersecting paths.

«I started drawing boats when I was two years old and never stopped. I loved them, just as I have always loved the sea. I am a Sunday sailor; I love medium-small boats, where I don’t need a crew and am more in contact with the sea».

What does it mean to design and subsequently develop a successful product in terms of safety and functionality? Safety at sea is an essential component, especially considering that average yacht users – I am referring to guests but to some extent also to crews – are not sailors who are used to going out in three-metre waves, people who have to make a living from the sea, but instead people who go on board as naively as they would enter a luxury hotel. Hence, all the more reason why the boat must immediately foster an image that guarantees safety. I find the onboard escape and movement routes fundamental, which must be carefully thought out and developed to make it possible to reach the areas for abandoning the ship, for example. Otherwise, they will be rendered useless. If I decide to put an electric sliding door on a key safety route, I have to anticipate that if the ship is at a particular angle, it will probably not be possible to open that door. Talking about functionality means identifying the quality of life on board and distinguishing a yacht from any other type of vessel. Planning, even stylistic planning, starts with “how it works”, this applies to every deck, space, worktop, sink, set of drawers, etc. For each object, we establish the order of priority of functions and, from there, decide how to achieve it.

Cigarette Tirranna – photo by Tom Leigh.

Tirranna
«Equipped with six Mercury Verado outboards delivering 2,400 horsepower, Tirranna was designed to offer the ultimate luxury, including Poltrona Frau upholstery. The result was a Bugatti of the sea that, at 70 miles per hour, remained rigid and so well fitted out that it was impossible to hear the banging of the electric cables in the corrugations. I mention this detail to illustrate the level of care that went into the design and construction. It was a fantastic experience that led to developing two more models and ended with the shipyard sale».

What does producing a good design mean for your studio? Over and beyond the romanticism that can be attached to the concept of beauty, when I was a teenager, I was very fond of John Keats (he recites, strictly in English, the last lines of the Ode on a Grecian Urn: “Beauty is truth, truth beauty” – that is all. Ye know on earth, and all ye need to know, ed.), indeed, according to human perception there is no such thing as universal beauty. Perhaps the only one, the one that all world civilisations recognise as such, is the beauty of natural things, of animals, of landscapes… Reasoning on the concept of “I like it” goes in the opposite direction and is risky insofar as it is a product of cultural conditioning. If designers start thinking about what their customers like at the time, they will necessarily produce a design that will be at least five years old by the time it hits the market. Moreover, it would be topical and linked to the observer’s birth and upbringing. Indeed, we are all unconsciously conditioned by the context in which we have lived, and it is normal for a specific type of architecture, decoration and imagery to be more familiar and pleasing than others that are far away and distant from us. As far as aesthetics are concerned, the challenge that we set ourselves in our small and limited cases and try to overcome daily is to create objects, even pushing ourselves towards unconventional shapes whose balance of volumes, proportions, voids, solids and decorative elements is as natural and easy on the eye as possible. This, together with the habit of thinking at least a decade ahead, is in some way a guarantee that the aesthetics will retain their appeal over time. Attending a launch is always a painful experience because I see something born in my head at least five years earlier.

(Giorgio M. Cassetta – Beauty is truth, truth beauty – Barchemagazine.com – Excerpted from Barche, February 2025)

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IdeaeItalia – The power of ideas

IdeaeItalia’s strength lies in accompanying the project from concept to completion, following all stages of production in close contact with the shipyard, combining skills and sensibilitiesfrom different worlds.

2016 marks IdeaeItalia’s baptism of fire. The presentationof the Wider 150 at the Monaco Boat Show, for which they designed the interior, offers Alessio Battistini and Davide Bernardini,the studio’s founders, the opportunity to make their debutas protagonists in the world of mega-yachts.

«The experience with Nerea was enriching, and also a completely new experience for us, because until then we had never workedwith small boats, which, as we know, require a thousand compromises due to their limited space». Alessio Battistini

IdeaeItalia was founded in 2013 to capitalise on the experience gained over years of working closely with production in renowned shipyards and collaborating with leading international design firms.

Nuvolari & Lenard – Composers of symphonies

«Interior design success is no longer just about style, but about taking a holistic approach that considers all aspects of the project, including the relationship with exterior design, and the knowledge and correct use of appropriate, sustainable materials and techniques».

Nuvolari & Lenard have designed superyachts for several renowned international shipyards, including Oceanco, Lürssen, Palmer Johnson and CRN. They have also designed production boats for the Bénéteau Group.

Since its founding in 1992, the studio has developed a diverse portfolio that includes not only yachts but also aircraft interiors and homes. Their work is characterised by an acute awareness of design in all its forms.

Bernardo and Martina Zuccon – Architects of their own lives

«We are ‘functionalists’ by profession, but also somewhat bohemian. Certainly human and humanist. After all, art is everywhere, and we want to become architects of our lives». Bernardo Zuccon

«About the Sanlorenzo SD132, flagship of the semi-displacement line, we have taken care, and are very proud, both of the exterior lines and interior décor».

«We have been appointed as art directors for an intriguing real estate project in Miami. We are collaborating with a company that specialises in property development». Martina Zuccon

Zuccon International Project has leveraged its multidisciplinary expertise as a key strength. Whether designing a house, a boat, an office, or a yacht, the fundamental principles remain the same.

J&J Design, a creative journey

«Today, what is most easily sold is comfort, or as the Americans prefer to call it, convenience, which appears less selfish… A comfort that is increasingly in demand, which once given cannot be taken away…». Jernej Jakopin

Pierangelo Andreani – Far from stereotypes

«No regrets. When Pininfarina called me up, I ran there as fast as possible. At the time, at Fiat, there was an atmosphere I wouldn’t know how to describe in words. I remember that we designers felt… useless».

«When they asked me to renew the range of trawlers at Bénéteau, it was imperative to respect the cost limitations. And in the end, we succeeded. It wasn’t easy because you must develop a valid, quality product that avoids waste».

Mar Garrente – A strong visual impact

The work invites visitors to discover how art and design can coexist harmoniously, transcending their traditional boundaries.

Filippo Salvetti – Life in Balance

«Archistars in the nautical sector are not an absolute evil. On the contrary, their migration has enlivened the market. It was necessary. Then, of course, distinctions have to be made. It’s one thing to work on big boats; it’s another to get your hands on a 50-footer».

«Working for a large group like Ferretti is stimulating because, although I start from a precise DNA, I can add an element of novelty each time».

«Mauro Micheli is an absolute genius. A pure artist with a beautiful hand. I learned from him by watching him. I ‘stole’ his art».

Fulvio De Simoni – Accuracy and Beauty

«Each new vessel becomes a participatory vehicle for various complementary contributions, improving design and construction quality».

Valentina Zannier – Drawing nourishment from art

Giorgio M. Cassetta – Beauty is truth, truth beauty

«Innovation is when you can throw your heart over the hurdle and decide that an efficient way is not necessarily to achieve something out of the ordinary».

«In terms of aesthetics, the challenge we set ourselves and try to meet daily is to create objects whose balance of volumes, proportions, voids and solids and decorative elements is as natural and pleasing to the eye as possible, even pushing us towards unconventional shapes».

«I started drawing boats when I was two years old and never stopped. I loved them, just as I have always loved the sea. I am a Sunday sailor; I love medium-small boats, where I don’t need a crew and am more in contact with the sea».

IdeaeItalia’s strength lies in accompanying the project from concept to completion, following all stages of production in close contact with the shipyard, combining skills and sensibilities
from different worlds.

2016 marks IdeaeItalia’s baptism of fire. The presentation
of the Wider 150 at the Monaco Boat Show, for which they designed the interior, offers Alessio Battistini and Davide Bernardini,
the studio’s founders, the opportunity to make their debut
as protagonists in the world of mega-yachts.

«The experience with Nerea was enriching, and also a completely new experience for us, because until then we had never worked
with small boats, which, as we know, require a thousand compromises due to their limited space». Alessio Battistini

Nuvolari & Lenard have designed superyachts for several renowned international shipyards, including Oceanco, Lürssen, Palmer Johnson and CRN. They have also designed production boats
for the Bénéteau Group.