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Stargazer: Inside the 23m Hoek chase boat

Years after completing a 54-metre sailing yacht project for Vitters , yacht designer Andre Hoek was contacted by the owner again. His sailing adventures in the Pacific were well underway but there was one problem: his tender. Now he was on the hunt for a high-quality “mini-superyacht” to support his explorations in comfort.

His wish list was long and placed at the top a continuity of style with the mothership. A Dutch yard to “ensure the same level of quality as his sailing yacht” was also essential, says Vitters’s PR manager Karin van der Vennen. Along with a high-quality build overseen by owner's repTaco Zwarts of TZ Technical Support, it was crucial that the classic, Hoek-penned styling of his sailing yacht be replicated in the chase boat. Enter Hoek.

Together with his team at Hoek Design Naval Architects , the designer prepared two proposals, complete with naval architecture, exterior design and interior décor. From these, the owner chose what later became the final design of the 23-metre chase boat Stargazer . “He asked for classic styling and for the boat to be a good fit for the mother vessel,” says Hoek. “We did two proposals and he picked the one that he really liked.” The contact was signed in September 2017, sparking the first ever build collaboration between the Dutch yards Claasen and Vitters.

The purpose of the chase yacht was clear: it would support his Pacific sailing adventures. To this end, Stargazer needed to be both a sturdy chase boat and supply yacht, capable of transporting guests and supplies to and from the yacht in comfort. “The owner wanted a proper boat, not just a tender, to go from the shore to the boat, which is often offshore or anchored out,” Hoek explains. The challenge to create a stress-free boarding experience set Hoek to work creating a freeboard design that he describes as “unique”. The cockpit floor and deck house floor are arranged on one level, with “no steps or sliding hatches,” Hoek explains. “The freeboard was designed so that you can step from the mothership to the tender in style and in bad weather conditions,” he says. The result is a sturdy platform that allows guests to travel in comfort. “It’s quite easy to move around the boat,” he says, “there are two staircases leading down to the swimming platform and you can walk down to the water level with a tray of glasses in your hands with no problem.”

Another key feature of which Hoek is especially proud is the aft diving platform, a specific request of the owner. “The owner is a great fan of diving and it was part of his dream to have this kind of tender so he can visit diving areas,” explains van der Vennen. The resulting platform folds flush into the deck when not in use and provides steps leading into the water when deployed. “It means you can walk down into the sea,” explains Hoek. “It’s a nice feature for diving.” The versatile platform can also be angled to reach high docks when the boat is moored, allowing easy on board access for guests.

Alongside transporting guests to remote diving spots, Stargazer is responsible for resupplying the mother sailing yacht by nipping into shore and restocking while the yacht stays anchored out. This has resulted in 900-mile range at a cruising speed of 15 knots and additional storage for both provisions and diving equipment. A storage room large enough to be an additional cabin is located on the port side aft. The remaining three cabins are split into guest and crew quarters. Accommodation for the permanent staff of two sits aft while the guest cabins for over-spilling guests from the sailing yacht are located forward. The crew area is comfortable and simple. White finished walls and ceilings create a bright décor, while the crew bathroom features an Amtico floor and Corian material. The guest cabins, meanwhile, feature luxury carpets and bathrooms fitted with marble, while the wider interior centres around mahogany wood and satin finishing in a style in-keeping with the sailing yacht’s interior.

Outside too, Stargazer has been specifically designed to reflect the mothership. The lightweight aluminium hull sports a classic red and white colour scheme that matches the sailing yacht and ties the two together. “It perfectly fits the style of the mothership,” says van der Vennen, “we don’t see this kind of style very often.” Following an 18-month construction, Stargazer was delivered to her “very enthusiastic” owner and has recently been transported to meet the sailing yacht in Tahiti. Side by side in matching red and white, the motor yacht and sailing yacht cut a handsome dash, undertaking the owner’s Pacific adventures together.

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68m Ketch // Hoek Design // Vitters

Hoek design draws a classic styled 68m ketch-rigged sailing yacht for a repeat client to be built at vitters..

Hoek Design Naval Architects and Vitters Shipyard, both based in the Netherlands, have entered into a contractual agreement to construct a 68m (222ft) aluminum ketch. This collaboration marks the eighth time the two companies have joined forces on a significant superyacht project.

The forthcoming yacht, set to be completed in 2026, is a development of the highly successful Adele (2005), Marie (2010), Anne (2009), and Meraki (2020), all of which were designed by Hoek and built by Vitters. These vessels are characterized by their elongated overhangs, timeless aesthetics, and traditional craftsmanship, which have earned Hoek’s design team a distinguished reputation.

According to Andre Hoek, the commission comes from a seasoned client who desires a yacht with increased guest cabins and the ability to navigate the Panama Canal.

Hoek Design Naval Architects will assume responsibility for the naval architecture, exterior and interior design, and styling. Additionally, the renowned American designer Bunny Williams has been contracted to oversee the extensive interior decoration. Van Ineveld & Co, who collaborated with Hoek and Vitters on the J-Class Svea, will be the owner’s representative.

According to Andre Hoek, the utilization of in-house developed computational fluid dynamic (CFD) testing and velocity prediction programs (VPP) has been extensive to optimize the hull shape and appendages. The yacht’s fixed keel incorporates a trim tab on the fin to minimize leeway and enhance balance with the ketch rig. Furthermore, the vessel is equipped with a single rudder featuring mechanical steering, which provides the helmsman with the necessary tactile feedback to achieve the boat’s optimal performance.

Bas Peute, the Sales and Marketing Manager of Vitters Shipyard, stated that the aluminum hull and deck of the yacht will be constructed in-house at their Zwartsluis premises, with the keel scheduled to be laid in April 2024. He emphasized the importance of the same team collaborating to build the new ketch.

Notable design features include three deck houses, with the owner and guest accommodations located aft and the crew quarters situated forward. The deck layout will revolve around a spacious central guest cockpit, and all deck houses will be adorned with wood cladding.

Southern Spars will supply the rig package, while North Sails will provide an extensive sail wardrobe.

The new yacht will have a diesel-electric propulsion and charging system that minimizes emissions. A permanent magnet electric motor will facilitate charging for the battery bank and propulsion when departing from a harbor or anchorage. This configuration also allows the yacht to operate silently for an extended period, with all systems powered by the battery bank.

SHARING IS CARING - THANK YOU!

60m ketch // philippe briand, atlantic crossing on wally 100 yacht “indio” with vor-sailors, nikata // baltic yachts, cool breeze – brenta 80 dc by michael schmidt yachtbau, blue sapphire // ferrari franchi design, triiris // solar sails // aristotelis betsis, r77 with multiple rotating twin wingmast by mathis rühl, apex 850 // royal huisman // malcolm mckeon.

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Hoek Design 70 ft Ketch KIM – 1991

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Kim is one of the early ocean going designs by Andre Hoek featuring an exciting beauty, classic appearance and a modern underwater structure. Built in 1991, with refits in The Netherlands by Holland Jachtbouw in 2006 and by Hutting Yachts in 2016, the yacht is kept in a very nice condition.

Originally designed for family cruising, she is extremely comfortable and suitable for short handed sailing and performs well, due to her large sail area. Her proven hull shape warrants comfortable and safe cruising in any condition. Her interior and naval architecture was designed by Hoek Design Naval Architects, a well-known Dutch yacht design studio. The beautifully crafted classic interior, that was partly refitted in the early 2000’s, holds a contemporary 5 cabin lay-out all with separate washbasins.

The yacht comfortably accommodates 8 persons and 2 crewmembers. Additionally, she holds one pipe cot berth in the main saloon on the starboard side. The aft cabin’s double bed sleeps two. Forward of the main saloon are the owner’s cabin with ensuite bathroom (vanity, toilet and shower), two guest cabins each with own vanities and one separate bathroom with vanity, toilet and shower. The crew cabin with vanity, toilet and shower can be reached via a separate entrance on the foredeck. The floorboards are mahogany with Maple holly and the ceilings are painted white (with exception of the beams), which gives a large contrast with the classic Honduras mahogany interior and a feeling of space and light. Fresh air is supplied to all the cabins via the large (Rondal) dorade vents. There are 72 small and large lockers on the inside. Just behind the anchor winch there is a hatch on deck that gives access to the chain locker and warp storage (where plenty of mooring lines, spare fenders, etc can be stored). There are two more storage hatches on the aft deck. The stairs in the cockpit can be removed for quick access to the engine room from the front side. The exterior features a large flush deck and a cosy cockpit with various seating options.

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Architects and Fashion Designers Are Penning Yachts, and It’s Changing How They’re Made

Vessels by names like benetti and foster + partners look great, but can they handle the seas experts share insights., by lucy alexander.

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Taking a Bow: How Yacht Makers Are Rethinking the Rear End

That design rulebook has now been thrown out, thanks to shifting priorities, new technologies, and the pandemic-fueled boom in yacht ownership. A rising generation of younger owners prefers watersports toys and wellness suites over cigar lounges and book-matched mahogany. Seductive superyacht concepts on social media promise a life in which families waft unbounded through fluid, open-plan, indoor-outdoor spaces devoid of clutter and supporting walls. 

Suffice to say, such experimentation is not typically dictated by dyed-in-the-wool naval architects but comes from a fresh influx of creative outsiders from the land-bound worlds of hotels, private homes, furniture, and even fashion. The designers serving the yacht-owning class of 2024 may be disparate, but they have one thing in common: Boats are not their area of expertise. 

For decades, a group of former apprentices of Jon Bannenberg, the godfather of yacht design, dominated the field with their trademark lavish style. Bannenberg, part of London’s “swinging ’60s” creative wave, designed celebrated vessels for the great and the not-so-great, including Malcolm Forbes, Adnan Khashoggi, and Robert Maxwell. Throughout the ’80s and ’90s, his protégés—Andrew Winch, Terence Disdale, and Tim Heywood—catered to the tastes of their plutocrat clientele (think fussy moldings, high-gloss hardwoods, tinkling crystal, and veiny marble), with their brand names adding pedigree to ships and their style seen as the hallmark of opulence. 

An embrace of the outdoors was a crucial focus for Norman Foster , one of the world’s most famous architects, whose designs for the 2008 YachtPlus fractional-ownership fleet, though controversial, prefigured some of today’s trends. Foster was perhaps the first outsider to disrupt the industry—“a conservative world” at the time, according to Angus Campbell, a senior partner at Foster’s practice who worked on the project: “You spend all this money, and then you have to look through these tiny little porthole windows; you’re on the sea, but you can’t see out. Why is that? So we looked at creating windows and external space that you can walk around.” 

In 2010, Vitelli found herself asking similar questions and decided to hold design competitions specifically for creatives from outside the industry. A successful initial collaboration with architect Achille Salvagni that same year led to a series of partnerships with other architects known for their global portfolios of luxury retail, hotel, residential, and product design, including Lazzarini Pickering in Rome, which did two interiors in the Benetti Motopanfilo line; Matteo Thun and Antonio Rodriguez in Milan, who are producing sustainable designs for the Azimut Seadeck series (the first of which will launch at Salone del Mobile this month); and Bonetti/Kozerski in New York, responsible for the interiors of Benetti’s 40M and 34M Oasis series. 

The results upended yachting convention. The traditional, strict divisions between interior and exterior were eroded, with “huge glass, huge doors” and a drop-down stern, recalls Vitelli, referring to Benetti’s pioneering “Oasis deck”—a lowered rear section with wings that fold down to create an expanded beach-club zone. 

Oceanco , a full-custom builder that counts Jeff Bezos and Steven Spielberg among its clients, now works with non-yachting designers under its NXT program, while Amer, a smaller semi-custom brand from the Permare Group , recently partnered with Milan-based architectural studio Palomba Serafini to create the award-winning F100 Glass Cabin. And in 2020, Giovanni Costantino, founder and CEO of the Italian Sea Group (TISG), reeled in the Moby Dick of designers: Giorgio Armani . The fashion maestro, who has owned his own yachts for two decades, not only signed up to create two Armani-branded 236-foot Admiral megayachts, including one launching at the Monaco Yacht Show this year, but also bought a 4.99 percent stake in TISG. 

The brand-name appeal of famous designers targets a new type of buyer, one who shops for a yacht as they would a luxury car, says Philippe Briand, a naval architect and creator of racing vessels as well as Vitruvius superyachts. The previous generation “came with sailing experience,” he says, “so they were more aware of functionality and constraints. Today, this generation are newcomers, and they’re consumers. That’s fine, but they need to be a bit educated about how complex it is to create a boat.” 

Ownership is expanding and changing. There were 1,203 superyacht projects under construction in 2023, according to the Global Order Book, an annual industry survey. That’s nearly twice as many as a decade prior, and demand looks likely to grow in line with the boom in multimillionaires: The most recent UBS Global Wealth Report predicts that the number of people with over $50 million in assets will rise to 372,000 by 2027, up from 243,060 in 2022. 

Gregory C. Marshall, a veteran naval architect based in Victoria, British Columbia, says his millennial clients (some are in their 20s) “just don’t seem to be interested in traditional superyacht thinking, ” adding that “they travel with a backpack and surfboards.” They want ships that are “less polished on the outside and a little more ‘How many toys can I pile on?’ ” 

But yachts are still status symbols: No one buys a superyacht solely from a love of sailing. “If people like the sea, in general they buy a sailboat,” Rodriguez notes. For grander vessels, clients see no reason not to bring in a famous name with no knowledge of the category “like they use a designer for a house in the city or in the countryside,” he says. “It’s a floating house.” 

Roberto Palomba’s vessel for Amer was commissioned by a client for whom he had designed projects on terra firma. “He knew me and he loves my style, so he wanted my style in his yacht,” says Palomba, who had no previous marine experience. 

The older generation of owners believed that conventional layouts by established industry professionals locked in resale value; today’s clients are much more comfortable with risk. Concepts aimed at this market include vessels shaped like sharks, the Star Trek Enterprise, and bird skeletons. Oceanco’s NXT offerings include Aeolus, a 430-foot gigayacht with a huge, sculpted primary suite and panoramic windows, and Kairos, which has the cosmic, asymmetric feel of a Tokyo shopping mall. 

Much of the work of external designers involves removing clutter. Giorgio Armani tells Robb Report that his blueprints were inspired by the clean lines of military vessels “and the optimization of space characteristic of old ships—away with all the infrastructures that can normally be seen, such as the tenders.” 

Inside his Admiral yacht for TISG, windows feature sliding panels to help create “spacious interiors flooded with natural light,” he says. “The sensation is wide-ranging and of total immersion in the surrounding environment.” The effect, enhanced by the stealth-wealth decor, recalls his relaxed yet deceptively decadent suits. 

Touring yachts as part of his research for the Oasis series, Enrico Bonetti, of Bonetti/Kozerski, found the interiors “very stiff, rigid, with furniture where nobody would sit” while also prioritizing “something flashy here, something else flashy over there. So what we tried to do is to link all the spaces together and have a continuation of materials and textures and colors.” The aim, he says, is nonchalance: “sophisticated but without showing it too much.” 

The main difference between the old and the new is a shift away from ostentation and toward a discreetly refined simplicity. Rodriguez’s mantra is “Always remove.” Instead of a bunch of gold and marble, he says, “we try to do the opposite, to keep only the materials you need, and never, never to show off.” He calls this approach the new luxury. 

Sustainability is another driver of change. For the interiors of Azimut’s Seadeck, Rodriguez says he selected exclusively recycled or recyclable materials, including a carpet made from discarded fishing nets, which Vitelli describes as “pleasant to touch.” She adds, “You don’t have that cold plastic effect—it’s like silk.” 

Change isn’t always welcomed by the technical teams who have to turn outsiders’ nautical fantasies into seaworthy vessels. “I’ve seen a lot of examples of yachts which have been controlled by the interior designer, and in the end [it] does not hang together,” says Philippe Briand, the naval architect, who prefers to work only with marine-specific interior designers. 

We were trying to push the boundaries and create a better experience for the guests, rather than make it easy to tie up when you’re trying to bring it into shore. – Angus Campbell

He particularly abhors the proliferation of unrealistic concepts on social media: “They’re all fake, to be honest, because they’re not representing any existing boat—they’re only the dream or the marketing of a young designer.” Moreover, these renderings are “polluting the market,” he says, because they give clients improbable expectations. “The client says, ‘You’re creative, you’re inventive, so I’m going to order a boat from you [only] if you’re able to do the same design I saw.’ Which puts us in a very difficult situation.”

Briand cites the trend for ultralow beach clubs, which he calls unfeasible in even slightly choppy water. “To make an attractive image in a magazine,” he says, the rendering needs to be “flat, all open, two feet above the water—and, of course, on the rendering, the water is [also] flat. It’s not corresponding to any real functionality. I mean, it’s basically fashion.” 

Marshall, the Artefact ’s architect, agrees that clients often bring concepts that are impractical but usually finds that, with “some minor adjustments,” the designs are “buildable without losing the aesthetic inspiration.” He says it largely depends on the purpose of the yacht, with an oceangoing vessel requiring more serious engineering than a Monaco posing platform—not every model needs to be able to “survive a hurricane in the middle of the Atlantic.” 

Marshall likewise welcomes the creative tension inherent in a meeting between external creatives and in-house engineers. “We look at it like a war,” he says, cheerfully. “Because the reality is each discipline is in conflict with the other disciplines. You may love the styling, but the structural people go, ‘Thanks, how do I build that?’ ” The way he manages the mediation process is to “start with the concept, go to a certain point and stop, then do a structural pass, then do a mechanical pass, [then] go back to styling—and the stylists of course look at it and go, ‘Oh, my gosh, all these engineers just slaughtered my brilliant design.’ And we go round and round.” The conflict is the point, he says. “When you get the balance right, then it’s a good design.” 

Palomba and Bonetti both encountered resistance to their initial ideas for Amer and Benetti, respectively. According to the former, he had to “force the producer to create big windows,” while Bonetti recalls continually clashing with what he refers to as “the rules,” such as having an elaborately set but unused dining table in the main salon. “For us, not knowing the rules [made it] easier to do things a little bit differently.” 

That often fruitful tension between outsiders and insiders can tip out of balance in the presence of what Marshall calls a forceful stylist. He’s happy to incorporate “round windows, triangular windows, giant staircases,” as long as the vessel operates as more than a stage set. 

One veteran yacht designer, asking not to be named, points to Foster’s YachtPlus as an example of form outweighing function. “It just didn’t function as a boat that well, in terms of the normal day-to-day things, like simply tying it up. A lot of the aesthetic inspiration that non-boat people come up with is very clever, but if it doesn’t meet the core usage, it doesn’t last very well.” 

Maritime regulations often curtail the ambitions of owners and designers. A client’s desire for double-height ceilings is hard to square with fire regulations, which limit the number of open spaces. “A boat is not a bag, it’s not a dress,” says Vitelli. “There’s a lot of substance—you’re buying a floating object full of technology, so [safety] has to remain the priority.” 

In terms of interiors, most still agree that the nautical nature of a yacht should be reflected in its fixtures and fittings. “A boat should remain a boat and should remain marine,” says Vitelli, adding that she rejected some architect proposals that were too close to “a New York loft.” Bonetti also cautions against mimicking residential styles too closely. “We’re seeing some boats that if you [replaced] the view from the windows with a street, it could be an apartment in the center of Berlin,” he says, adding that vessels can reflect their authentic purpose “without going back to the old mahogany interiors.” 

But exactly how should a yacht’s design convey its marine essence? It’s partly a matter of safety, says Vitelli: It must have “rounded shapes,” because no one wants to encounter a sharp corner in a storm; handrails and non-slip floors are also crucial. But for a superyacht, it’s also a matter of luxury aesthetics—which means bespoke built-in furniture. Anything off-the-peg “is not perceived as top luxury by certain customers, it’s luxury that we can more or less all afford to buy—Poltrona Frau or Minotti.” In other words: mass luxury. 

If the glass is actually stronger than my aluminum structure, why would I make it out of aluminum and not glass? – Gregory C. Marshall

When is a boat not a boat? When it is, in Armani’s words, “a moving house, with particular characteristics.” Today’s owners employ residential architects precisely in order to create the feel of a floating home. Such personal designs will inevitably conflict with the mathematical certainties of naval engineering. But the best shipyards welcome outsiders who bring the friction that sparks creativity—such open-mindedness is especially necessary as technology continues to expand what’s possible. Yacht design is not “an ever-fixed mark / That looks on tempests and is never shaken,” as Shakespeare might have it, but instead it must trim its sails to the prevailing wind. 

Lucy Alexander

Lucy joins Robb Report from Tokyo, where she spent six years reporting on people and places in Japan for The Wall Street Journal, The Times of London, The Financial Times and the BBC. She was…

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Ferretti Yachts and Riva to attend Moscow Boat Show 2013

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Written by Zuzana Bednarova

To be represented by Premium Yachts, Ferretti Yachts and Riva , two prestigious brands of the Ferretti Group, will be present at the Moscow International Boat Show 2013, displaying motor yacht Ferretti 530 as well as Riva Iseo yacht tender.

Luxury motor yacht Ferretti 530

Luxury yacht Ferretti 530 was very keen to undertake in collaboration once again with AYT – Advanced Yacht Technology, Ferretti Group Engineering Division and Studio Zuccon International Project . The compact dimensions, 16 meters long and almost 5 meters wide, allow the 530 yacht to deliver grand Italian luxury and cruising immersed in such comfort until now unheard of in a yacht of this size.

Ferretti 530 yacht boasts three revolutionary innovations: the full beam master cabin with chaise longue and two large open view windows that make it a real suite at sea level bathed in light, tones and the natural essences of teak. Moving the galley from the center to the aft section creates a unique open space that includes the saloon, galley, cocktail bar and the dining area, the cockpit area continues thanks to the tilting window. The roll bar free sky lounge and the spoiler allow the 530 a sporty appearance combined with elegantly formal lines.

Ferretti 530 Yacht - Interior

Riva , the iconic Ferretti Group brand, presented a new model at the historical Lake d’Iseo shipyards in July 2011. Featuring elegance and ease of transportation as its distinctive characteristics, Iseo superyacht tender , a 27 foot runabout, is destined to become a must-have for those who love cruising on both lakes and the sea, and, most importantly, design enthusiasts. It is also perfect for anyone wishing to enhance their yacht with an exclusive tender that will never go unnoticed.

Riva Iseo superyacht tender

Due to its ease of manoeuvrability and size, Iseo yacht tender is also ideal as a tender for large yachts. Innovative and elegant, it can also guarantee comfort in bad weather conditions. Besides the electrohydraulic bimini top, it was also designed with a waterproof, automobile-style soft top which protects those on board against water and the wind during cruising.

Please contact CharterWorld - the luxury yacht charter specialist - for more on superyacht news item "Ferretti Yachts and Riva to attend Moscow Boat Show 2013".

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Take advantage of the exceptional 15% discount by 44m charter yacht BLISS in Greece

OUR HISTORY

Founded in 1986 by Andre Hoek, Hoek Design is today one of the world’s leading offices for yacht design, naval architecture and engineering. Based at the heart of the Dutch yacht building industry, it offers a comprehensive range of styles, from truly classic to ultra-modern. Superbly balanced with top performances to match, all our yachts are created by a highly experienced team using the latest design tools. And they all share that distinctive and elegant Hoek look. Read about the evolution of Hoek Design or visit our yachts virtually by choosing your preferred category. We hope you enjoy seeing and reading about the yachts described here. If you have any questions, please don't hesitate to contact us personally. We welcome your feedback at all times.

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• US: +1 (561) 833 4462
• US: +1 (206) 209-1920
• MC: +377 99 90 74 63

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