The Dynaship Yacht Design working group brings the concept of TurnkeyProjects to the marine industry, providing customers with complete consultancy concerning all problems of design and construction of pleasure crafts.
We are surrounded by a landscape of material and immaterial artificial products: the design, in its different aspects, affects contemporary society. Interpreted in its traditional task of giving shape to products, it renews its disciplinary status by including in its sphere of reference all the complexity of industrial design which develops in:
- The concept, or the strategy that leads to the conception of a new product
- Project, with the definition of the product
- Production
- Marketing
- Use of the product by those who purchase it and its disposal and sustainability
The Dynaship Yacht Design working group, founded in 1990 by architect and yacht designer Franco Gnessi, perfectly represents these concepts.
THREE LADIES PROJECT
These concepts are the foundations of the project referred by Mr. Gnessi as the ThreeLadiesProject, involving technical contents which are interesting for shipowners, brokers, and shipyards. We are talking of three ships with a basic structure that is a ‘canoe body’ identical in volumes, materials, and motorization, but set up differently in shape, morphology, and stylistic aspect.
The “fil rouge” linking the yachts – the founding principle of all DYD projects – is the mix of arts and influences from multiple worlds: technique and art as two sides of the same coin that coexist in a system of mutual interdependence.
BULLET 200
The first of the three was the Bullet200, a 61 m diesel electric megayacht built with a steel hull and an aluminum superstructure in the lower part, with a mast and antennas in composite materials and zero-emissions cruising at the forefront of the design. With stylistic cues taken, imported, and absorbed from car design, especially from the great designers of the Sixties and Seventies, the Bullet200 creates volumes that are different from what is usually seen in the market segment of this size.
The ship was designed with a gross tonnage of 975 tons, not easily noticeable. Christened ‘Bullet’, the megayacht is a refined and astute design exercise in which a decidedly minimalist exterior cleverly hides a rather complex interior. Simply put, the true extent of the 200 feet is not obvious at first glance.
“We must learn from the automotive sector where stylistic research is much more advanced than what is usually done in the nautical sector. The Bullet200 was born from a precise idea: a design exercise with the aim of making us lose the sense of the ship’s measurements. We have worked so that the observer does not perceive the true size of this yacht. We used volumes and lines that blend harmoniously to create a very refined product, which will also surprise for the level of privacy regarding the internal spaces” explains Franco Gnessi.
INTERIOR PERSPECTIVES
Starting from a classic displacement hull and inserting clean lines and well-placed curves, the large internal volumes are configured to give maximum emphasis to privacy and convivial spaces, whether it is to organize parties or business meetings, while creating very private areas to ensure that you can make the most of your free time on board.
The Bullet200 has a balanced development of private and entertainment areas, which include a beach club on the aft deck, a Jacuzzi on the sun deck, a swimming pool on the main deck, and a sunken lounge on the bow.
In the internal distribution, the interior architecture is striking, rotated by 45°, capable of generating new interior design perspectives. At the bow, preceded by the atrium with stairs, is the owner’s suite. The lower deck is mainly dedicated to accommodation for a crew of 15 members, but there is also a large lounge with a bar, located beyond the garage and the beach club.
GEKO
“The project goes on with Geko – Mr. Gnessi continues – which is a completely different object that can remind a Zen-style concept. In true oriental style, the clean and synthetic lines of the ship refer to aesthetics of a kangji drawn in ink. The conciseness of the sign pervades the entire superstructure project, giving this ship extreme lightness. The bridges seem to float on top of each other, with a slight concave shape that transforms the bolting into a strong stylistic sign. The proportions and dimensions of the decks which decrease as they rise upwards, and the chromatic contrast between the superstructures, the windows, and the thickness of decks help to give lightness to the design.“
The choice of the glazings’ morphology takes on particular importance and, with a characteristic diamond section, runs along the entire perimeter of the superstructures. Not only do they emphasize the slightly curved lines of the design, but cleverly hide within them the external stairs rising from the main deck to the first deck and from this to the sundeck.
The entire ship develops around the main pathways which, when intersecting, give rise to distribution hubs through which the flows of life on board are directed according to the different levels of privacy. In particular, the owner’s suite has private access through a mezzanine which simultaneously allows this area to be separated and connected to the rest of the ship.
AUGUSTEA CC
The latest addition to the three ladies is the AugusteaCC, a 200-foot ship that pays homage to the principles of Rationalist Architecture. Its concept is a compendium of stylistic features coming from two sources: a project that arises from the desire to enrich the sailing design with concepts and archetypes tied to the architectural composition.
The taut and clean lines, just like in Rationalism, pursue the principles of functionalism and Vitruvian dictates, and are designed following the precise proportions of the golden section, giving this ship unparalleled grace and balance. The essentiality of the architectural composition models the volumes of the ship like a block of marble, in which the juxtaposition of full and empty spaces highlights and recalls the internal distribution.
The high wall is lined with windows that pay homage to the Post Office building in via Marmorata by Libera and De Renzi. The diagonal weave shapes the monolithic volume of the ship and modulates the light that permeates the area of the ship intended for guests. Further forward, circular windows highlight the area intended for the owner’s suite. Going up to the upper decks, the volumes are emptied, lightening the composition and accompanying a more open distribution that supports more convivial on-board functions.
HORIZONTAL AND VERTICAL DYNAMICS
The distribution of the ship is organized along not only horizontal but also vertical routes, which shape the internal space by organizing the functions, both the more convivial ones and the more private ones.
As Giuseppe Terragni’s apartments building ‘Novocomum’ represented in 1928 one of the first examples of modern architecture in Italy, in which pure volumes are juxtaposed, the horizontality of the bridges in the side view transforms into cylindrical volumes that shape the distribution of the ship, generating permeable walk-around spaces.
And while the volume is compact from the side, the stern presents a large window to the sea level lounge flanked by two staircases that take us to the main deck where one of the two outdoor swimming pools is located at the stern. On the upper deck, in addition to the external dining area, there is a helicopter deck that can be transformed into a sundeck.
GREEN DESIGN
Sustainable design uses PLM data to not only better calculate a product’s carbon footprint, but also to evaluate design and supply chain decisions with an eye to sustainability.
In this case, green design was fundamental already in the meta-design phase. With propulsion entrusted to two azipods with brushless electric motors with a power of approximately 2000 kW each, the ships will be able to reach a maximum speed of 26 knots and a cruising speed of 22 knots. This engine will allow an autonomy of 90 minutes at a speed of 8 knots.
