New Design & Consulting
Tad Roberts Yacht Design

Extended Comments

Combining high-performance and good manners under sail, with a classic exterior and stunning Art Nouveau interior, this 108' aluminum centerboard cutter will standout in any fleet.

From a distance, this cutter appears a typical traditional sailing yacht, but the tall prebent mast with swept-back spreaders gives a clue that something is different. Spars are carbon fiber, headsails are roller furling, and the main sail furls in the boom. Coupling this rig with a high aspect centerboard, I believe this cutter could be termed a classic performance cruiser.

The deckhouse is low, but filled with large widows to bring light and sea views to the owner's cabin and saloon. Her traditional overhangs add grace and deck space. Underwater her lines are not typical of a modern sailing yacht; forward sections are deep and vee shaped to minimize pounding. This fineness can be carried above the waterline because, lacking the modern boat's full aft quarters, she will not trim down by the nose as she heels. Instead, her waterlines are fair and nicely balanced producing a double-ended shape at DWL that is unlike the modern chopped off arrowhead waterline, which can cause various instabilities as the boat heels. Modern designs incorporate wide and full quarters to damp out pitching; this works, but the volume in the overhangs of this big cutter performs the same function and to better effect.. Finally, there is the overwhelming appeal of the beautiful oval transom.

Under water, the stub keel is only large enough to contain the ballast and house the centerboard when it's retracted. The rudder is semi-balanced with a half-depth skeg. The deep, high aspect and neutrally buoyant centerboard provides excellent lift to windward and zero drag off the wind.

One of the strongest design elements on deck are her large oval cockpits aft and amidships. Among the earliest introductions of these shapes are drawings of the schooner America, built in 1851. Francis Herreshoff included oval cockpits in a number of his designs, probably with influence from the America. In the design of this new cutter, they dovetail perfectly with the curved and elliptical shapes of the windows, doorways, furniture, and even bulkheads. To me, the oval cockpit is richer, more graceful, inviting, and more comfortable at various heel angles than its straight lined counterpart.

The boat will be sailed by the working professionals in the aft cockpit. The amidships cockpit is isolated from this activity and is a dining and lounging center for guests. The main hatch at the forward end of this cockpit leads us to the saloon below. Here materials and shapes are related to those on deck but we are surrounded by sinuous curves and the signature femme-fleur motif. This appears in tabletops, stained glass doors, metalwork, and wood inlays throughout the yacht.

My discovery of Art Nouveau design and specifically the work of Antonio Gaudi and Victor Horta brought my work at BKYD, and my collaboration there with Joe Artese and his use of light and curves, into focus in a historical sense. Combining Gaudi's freeform and whimsy with the restrained and formalized whorls, sweeps, and curves of Horta's work became an appealing challenge. In keeping with my design philosophy, of an integrated whole, every effort has been made to tie together the classic exterior and Art Nouveau interior with similar forms and materials and especially elements like windows, doors, and hatches.

The saloon is the full width of the yacht, with dinning area to port and lounge with fireplace to starboard. There are three large windows port and starboard and four skylights overhead. Behind the settees port and starboard are curve-fronted lockers with stained glass doors. The inlaid tabletops combine contrasting woods, metal, and brilliantly colored tiles. In the aft port corner is guest cabin number one with on-suite head. Opposite this is the ship's office and navigation center, with passage way leading aft.

In the aft passage is the engine room door and access to guest cabin number two. Like each of the cabins, this one includes a lower double berth, single folding upper, hanging locker, and on-suite head with shower. At the end of the passage we enter the owner's cabin, a smaller version of the main saloon. Again there are windows port and starboard, curve-fronted lockers with stained glass doors, curved seat, and ladder to the after cockpit.

Forward of the main saloon are doors to guest cabin number three and the galley. This forward guest cabin can also be utilized as a swing cabin for the yacht's captain when there are fewer guests aboard. On the starboard side in the galley and crew mess the Art Nouveau theme continues and there is curved cabinetry and stained glass throughout the crew areas. Particular attention was given to providing adequate space for the crew to live and work. Forward of the galley is a laundry/wet area, and two double crew cabins with on-suite heads and showers.

Dinghy storage for a 14' RIB is provided in a shallow well forward of the mast.