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Step on board the 162.5m Eclipse - the second largest superyacht in the world

Designer Terry Disdale talks us through the four and a half years, nine decks and 162.5 metres of the world’s second largest superyacht.

Terry Disdale didn’t set out to design the biggest superyacht in the world. “No one ever said to me, ‘I want a 160 metre boat’,” he says over breakfast near his office in Richmond, London. “When the yacht was still on the drawing board, there was a rumour going round that someone was building an even bigger boat, and the owner was asked if he knew about it. He said he didn’t, and that he didn’t care. Breaking records was the farthest thing from his mind.”

What he did care about was helicopters – he wanted to carry more than one; and the pool – it had to be big. There were also some early discussions about low bulwarks and big windows, and that was the totality of the brief for what would become Eclipse . “To be given free rein is actually a dreadful thing,” says Disdale.  “I asked myself what I wanted: something timeless. How do you design something timeless that’s still going to look good and not be anaemic? It’s so easy to get carried away, but you’ve got to be able to look at it in 20 years and decide it still looks OK.” But that’s the trick, isn’t it? And the measure of a designer.

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At least Disdale had some hooks on which to hang the design. “Part of what creates the yacht looking like that is you’ve got to land this huge helicopter on the front, so the superstructure is pushed back. The formation of the boat is built around helicopter usage. And we didn’t want the boat to look unbalanced when the helicopter is on the foredeck. Some boats have a foredeck that looks wrong whenever a helicopter sits there.”

The lines of the boat were dictated by another prerequisite: the two significant lifeboats demanded by Solas. The sheerline runs straight aft from the bow and steps up amidships, the high freeboard created giving visual support to the lifeboats. “If you’d had a different sheerline, the lifeboats wouldn’t have looked comfortable,” the designer says. This, plus the addition of a 15 metre pool aft on the main deck, meant that the overall length of Eclipse – 162.5 metres – was defined not by ego but by practicality.

“Everyone thinks that a boat starts with a sketch, some glamorous visual of the outside of the boat. But that’s not how things work in my office – we start with a plan, a general arrangement.” The project, from this first design stage to the boat’s launch at Blohm+Voss ’s Hamburg yard in 2009, took four and a half years – a remarkable achievement given the scale of the yacht, which was only overtaken as the world’s biggest in 2013 with the launch of 180 metre Azzam . 

Up to 20 engineers from Blue Ocean Yacht Management were present on site throughout the build, whipping it along to meet the aggressive delivery schedule. Disdale doesn’t recall any sleepless nights – “at least, no more than usual!” he laughs. The pressure of designing what was then the world’s top yacht – both inside and out – did obviously register, though. “It’s a huge responsibility building something of that magnitude, which is going to be under everyone’s magnifying glass. It’s not just ‘doing a job’, this thing is going to be scrutinised and analysed by everyone. There’s a responsibility to yourself as a designer.”

A decade from delivery, and more than 15 years from the moment Disdale first put pen to paper, he says he wouldn’t change a thing – and nor has the owner, who has kept Disdale’s designs largely unchanged. “For me, it’s more a clean piece of architecture than it is a piece of styling. The fact that you have a helipad on the front creates the superstructure to bow dimension, which is beautiful. If it wasn’t there, you wouldn’t have that length. And then when you get to the back of the boat, the swimming pool is dictating another piece of the story. I don’t know what I would change now. I don’t sit around saying, ‘I wish I did this or that’. Maybe I’d make the rear end look a bit more inviting, the way the staircases lead into the boat, but anti-piracy was a concern, plus there are a load of services and facilities back there. There’s a full-size pantry to serve the beach club, which very few boats have, and gull-wing doors with a pullout barbecue and pizza oven. There’s a lot you don’t see.”

Disdale’s long experience in the business means he is able to resist the temptation to force designs, or slavishly follow trends that flare and fade, leaving boats looking old before their time. “ Eclipse is a handsome boat, and it looks like a boat. It doesn’t make any pretence,” he says. “The key word is elegance. Very few boats can make that claim any more. Modern boats are purposeful, aggressive, macho, which has led to them all having snub noses. They look angry. You could paint them grey and stick a cannon on the front and it wouldn’t upset their stance at all. Eclipse is not like that.” It’s a familiar sermon from Disdale, who famously posts his 10 “design commandments” up round his office. “One of  the most important tools in your box is restraint. I can have complete freedom when designing a superstructure, but restraint is actually the most important thing – knowing when to stop gilding the lily. Don’t gild it! Use silver leaf.”

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The obvious benefit of a single designer being responsible for the interior and exterior of a yacht is a seamless flow between the two, and that is absolutely true of Eclipse , whose interior conforms to another one of Disdale’s mantras: “ beach house not penthouse ”. “If you’ve got a dining room with satin on the chairs and gold braid around them, but you live in a T-shirt and shorts, then you’re not comfortable,” he says. 

The pool is a vast entertaining space, with 3.2 metre overheads and a retracting glass sunroof. “The ambience of the pool is as important as how it looks. You’ve got to want to sit by it.” Or dance on it: the blue granite bottom of the pool rises up to sit flush with the deck. It can also be lowered a touch to create a paddling pool.

The interior of any boat should be about “pure relaxation”, says Disdale. “People are on vacation, people are chilled.” He relates one story of an Arab client in the 1980s, who he dissuaded from fitting gold taps to his superyacht. “I told him he already had a 65 metre on the quay – he had already made his statement. It was a process of trying to quieten his ostentation.” You get the feeling no such effort was needed with the owner of Eclipse . “He had already owned three yachts to our design, so consequently was very familiar with my way of working and the habitat I create.” It’s impossible to miss the very deliberate warmth of that habitat and a design miracle that, despite using broadly the same colour palette throughout, nowhere do you tire of the ochre-like shades. 

This uniformity wasn’t applied to the lobbies between decks: different artists were tasked with creating unique works to give each lobby a flavour, so there is no confusion about what deck you’re on – a problem when you have nine. One of these pieces is a wooden sculpture made up of seven pieces, the design for which was hand drawn by Disdale and sent to Japan for manufacture. It’s a stunning work and symptomatic of the detail shown throughout – even in more mundane pieces, like the sideboards in the cabins that were designed in Europe and crafted in Chile.

With no clear-cut brief on the yacht’s layout, Disdale was forced to second-guess, “but that’s my job”, he says. “You have to work out how people will move around the boat.” The benefit of an LOA like Eclipse ’s is the owner can swallow serious acreage without impacting the guest experience. It’s not about avoiding guests, but being able to operate independently of them.

It would be easy to mistake the guest suites for the owner’s own quarters, such is their footprint. There are 18 guest cabins in total, served by 100 crew. From the moment the guests arrive by chopper, mainly on the top helideck, they’re absorbed in the comfort of the boat and have access to the main stairwell and elevator. It’s a transition of which Disdale is particularly proud. “It came from understanding how a boat is used. When you get out of the helicopter, you’re blown to pieces, and then where do you go?” The answer is an intimate lounge, where you can freshen up before entering the interior proper. It also gives pilots somewhere to conduct safety briefings, he points out. Eclipse is able to travel with multiple helicopters on board because one can be housed in the forward hangar, one above it on the retractable platform and another on the sundeck.

At the other extremity of the boat, the convenience continues with a huge bathing platform and staircases that fold down into the water for easy boarding – even for those wearing full dive gear. The beach club wasn’t maxed out, with a comfortable lounge along the centreline preferred to a big open area that is harder to secure. Beyond, though, the lower deck opens up into a huge 77 square metre gym and spa area, complete with massage room, beauty salon, sauna, shower areas and the yacht’s second plunge pool. Visual interest is added by banks of portholes with views into the swimming pool, which dapple light across this whole space. Choosing somewhere to relax on deck is slightly harder – where do you start? The options are endless but special mention has to be made of the wood-burning fire pit on the upper deck – perfect for nights on deck under the stars.

Disdale and his team were present in June 2009 when the boat appeared from the giant drydock in Hamburg. No butterflies – he claims to have been pretty zen about seeing her free of scaffolding and plastic. “Although you design every part of it and you see it being built, nothing prepares you for the feeling you get when you actually see it in the flesh. The tug pulled it out and there was the thickness of a mattress between the wing stations and the shed walls. Literally – they tied mattresses to the stations. When it appeared I was gobsmacked.” As was the owner, pleasingly for the man who’d dedicated nearly five years to the project.

“It’s like cars,” explains the car fanatic. “I was talking about Lamborghinis the other day. They used to have the Miura, a beautiful car. But they replaced it with the Countach, which looks like it was carved from cheese. One is ageless and one looks stuck in time. Elegance is the most important thing. The Miura is elegant, the Jaguar E-Type is elegant.” He’s too modest to say but Eclipse belongs in that league – beautiful for ever.

First published in the April 2016 edition of BOAT International. Get this magazine sent straight to your door, or subscribe and never miss an issue.

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By SuperyachtNews 11 Nov 2016

Do we need to update the superyacht general arrangement?

As technology and design in the superyacht market evolves, is there a need to update the general arrangement.

While superyacht exteriors continue to evolve, there is one element that appears to be consistent in superyacht design – the general arrangement (GA). As superyacht design becomes increasingly futuristic, is there a need to update the GA, or would there simply be too many issues to contend with in order to make drastic changes feasible?

In many cases, clients wouldn’t want the GA to be altered as, despite being slightly outdated, the standard arrangements work. However, times are changing and technology is transforming the industry in such a way that we are capable of creating ever more advanced vessels. So if current technology is at a standard that can facilitate these changes, why not use it to create a revolutionary superyacht with a completely reimagined arrangement. But, how difficult would it be to work around regulations to make the new arrangement compliant?

“There are a number of regulations that are changing or have changed to facilitate more alterations to the GA,” says Jo Assael, yacht codes specialist at Cayman Islands Shipping Registry. “For example, historically, guest cabins wouldn’t be placed on the lower deck because you couldn’t have particularly large windows, but, as technology improves, we’re now able to allow larger windows bellow the bulkhead deck due to advances in technology.”

This example in particular shows us that the GA has evolved in tandem with technology and now the placement of the guest cabins can be altered for a more pleasant experience on the lower decks because of the larger windows. A number of GAs are also being altered in favour of the owner’s private spaces aft, instead of the guest spaces. “We are beginning to see more interesting things like having the main deck guest areas forward and having the owner’s area aft and on the upper deck, looking aft because of the full beam space,” says Assael.

However, while it’s important to cater for progression in the industry, there is no way to avoid adhering to regulations. The Cayman Islands Shipping Registry believes that there are always different ways to approach a compliance issue in order to work design elements in the yachts favour.

“On the lower decks we have to have a certain amount of bulkheads that divide up the ship and that’s always going to be the case. How you use those spaces is up to you, but dividing up the ship to account for watertight divisions and fire regulations around things like staircases is something that we’re always going to have to adhere to and we’re always going to partition off certain staircases.”

At the 2016 edition of Superyacht DESIGN Week , a discussion called ‘deconstructing the GA’ was held to explore how the common arrangement can be altered and how designers can offer something different. Here the consensus was that there is a desperate need for creativity in the GA. But for a 50m superyacht, how are designers supposed to introduce additional features such as spas, games rooms etc., while keeping all the essential elements of the layout when the gross tonnage of the yacht remains the same?

“The clients want to maximise their routine, and how do we do this with only the same space as the generic GA?” says Mike Worthington-Leese, senior partner at Winterbothams Ltd. “You’ll always have the generic layout [in a 50m superyacht] where you have the owners cabin, the galley, four to five guest cabins, maybe two saloons and dining room – but the creativity comes into play when you look at how the designers take the basics of a layout and come up with something different”

The issue of the generic arrangement comes down to the feasibility of a designer’s creativity, but it may not be as complex to introduce major changes as one may think. “Its not all compliance,” says Assael. “There are always ways to look at it differently. So long as we do the analysis and we look at it from an engineering point of view we can always do something which slightly different from the standard regulations.”

Effectively a change in the GA comes down to the client and their wishes, whether they want to use the yacht differently to others is a vast factor in its reinvention. But, it is certainly feasible, as explained by Assael, and there are effectively two major compliance elements which have to be included – bulkheads for water tightness and sectioning off for fire control. Once these are achieved, there is certainly room for manipulation within reason. Whilst the standard GA works, it seems that there is a need for an update to keep alongside the monumental advances in design and technology.

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Cayman Islands Shipping Registry

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Galactica Super Nova - 2016

At 70 metres overall, Galactica Super Nova is the largest Heesen built to date. With an impressive top speed of 30 knots, this aluminium yacht with a Fast Displacement Hull Form is one of the fastest superyachts in her class in the world.

First impressions

Galactica Super Nova’s head-turning exterior design is by Espen Øino, who worked on a pre-established technical platform provided by Heesen. Her profile embodies Heesen’s DNA, but also introduces new design elements that make her one of the brightest stars in the Heesen galaxy.

Step aboard

Galactica Super Nova’s classic-contemporary interior is a paragon of elegance and comfort. The designer Sander Sinot worked closely with the owners to create a design that perfectly suits their lifestyle and taste.

Specifications

Hull type: FDHF

Exterior design: Espen Øino International

Interior design: Sinot Yacht Design

Hull: Aluminium

Length over all: 70.07 metres / 229 feet 8 inches

Beam over all: 11.90 metres / 39 feet

Draft (half load): 3.25 metres / 10 feet 6 inches

Tonnage: approx. 1,200 GT

Accommodations

Cabins: Full-beam owner’s stateroom, one VIP suite and four double suites

Technical Details

Maximum speed (half load): 30 knots

Range: 4,000Nm at 12 knots

Fuel capacity: 89,000 litres / 23,511 US Gallons

Fresh water: 25,000 litres / 6,604 US Gallons

Propulsion Details

Main engines: 2 x MTU 20V 4000 M93L Fixed Propeller + 1 x MTU 16V 4000 M93L Booster Jet

Maximum power: 2 x 4,300kW + 1 x 3,440kW

Main generators: 2 x Kilo-Pak, each 240kW

Bowthruster: ZF-Marine 165kW, electrically driven

Stabilisers: Quantum extendable, 2 fins, zero speed

General arrangement

Wheelhouse deck

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General Arrangements

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Amadea: Peek Inside This Amazing Superyacht

Amadea: When you think about what a superyacht should be, then a lot of luxury features will immediately spring to mind such as plush interiors, gleaming decks, rows of floor-to-ceiling windows and glass walls, as well as plenty of fun things included to keep us amused.

Nothing embodies the idea of a perfect mega-yacht more than the 106.5-metre Amadea mega-yacht, a veritable floating palace of a luxury vessel being the most detailed superyacht ever built!

The Amadea yacht was built from steel and aluminium in 2017 by German shipbuilders Lürssen, and is currently up for sale with Imperial the Monaco-based luxury yacht broker, and is looking for her next privileged owner.

However, the next lucky owner of this amazing yacht will grab themselves an absolute bargain because even though the Amadea is classed as ‘brand-used’, it has been refurbished to be in an even better condition than you would get when buying an off the peg new-build.

According to Imperial’s management team, the Amadea is a “true turn-key superyacht” because of the precise synchronisation between all parties that were responsible for creating such luxury.

So, what’s inside? Let’s take a peek inside one of the most desirable luxury yachts on the market today…

To infinity and beyond

One of the first eye-catching features that guests will notice once they board the Amadea mega-yacht is the 10-metre mosaic-lined infinity pool that sits on the main deck created by exterior designer Espen Øino. Taking a cooling dip in this pool will really allow guests to connect with the splendour of the sea and the beautiful surroundings wherever the owner chooses to anchor the yacht.

The Amadea has a clamshell arrangement of three overlapping shell structures containing five decks that hold endless world-class features to entertain her honoured guests, including a cooling air-ventilation system to keep guests and crew cool and comfortable, a future-proof bridge and a very grand white marble central staircase fitted with red carpet that links up each deck on the yacht.

The decks contain many hidden and convertible features such as a deck with 20,000 Watts of built-in speakers, lights and lasers, and a spa pool that can be converted into a stage for live bands or DJ’s to play.

Even the cinema on the bridge deck can be retracted when not in use, but when in use you can really get into the zone with the film you are watching because the two main sofas have D-Box motion control, allowing you to tip and move around mimicking the motion seen on-screen. The cinema even has its own popcorn machine!

Designer interior layout

Every detail of the interior décor has been carefully chosen. From the custom-built furniture to the matching books and ornaments, interior designer Zuretti left nothing to chance and pulled out all the stops to over-deliver a high level combination of chic comfort and class.

Zuretti was given a brief from the original owner asking for an authentic classic representation with the integration of classic furniture from the 18th century. You really get this feel as you walk through the yacht with alcohol, books and accessories being a key part of the interior design.

Øino and Zuretti collaborated extremely well to deliver external and interior designs that complement each other perfectly. Cosy and intimate nooks are not in short supply on board with plenty of recessed seating kitted out with cushions and sun loungers in warm, organic tones.

There are very eye-catching features to take in, such as the hand-painted Michelangelo clouds above the dining table, backlit bottles of whiskies, brandies and rums behind the bars, and the stainless steel, onyx panels and deck motifs.

All play and no work?

Despite the Amadea mega-yacht being unmistakably built for pleasure and leisure, the business needs of the guests have not been overlooked. The multi-functional bridge deck offers a private space for guests to conduct digital business meetings or to catch up with the news through the onboard cinema.

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Yacht General Arrangement

Discussion in ' Boat Design ' started by monrosm@shrewsb , Mar 28, 2014 .

monrosm@shrewsb Junior Member

Simple question, why are general arrangements drawn with the bow facing the right hand side of the drawing? I am sure there are exceptions to the rule but a quick Google shows about 98% of drawings are done this way. (see image attached?) Many Thanks  

Attached Files:

General arrangements.jpg.

philSweet Senior Member

Not sure why. but it would help with the lofting process, to not need a left and a right handed lofting floor. So maybe there was actually a requirement in the old British naval procurement system to do it that way. It might also date back to the earliest printing systems, where engravers established standards to make their life tolerable. It was a horrible job to be a plate engraver. They were usually very good artists, but often worked 16-20 hours a day cutting plates for the old presses. They had to make reverse images, also. This led to standards so people didn't complain things were backwards. Animal illustrations are the same way. Old shell books all show right hand spiral shells, even though almost all shells are lefties. The engravers had a lot of leeway in terms of how to represent details, textures, and shadows, and these sort of standards just made it much easier to be productive after 18 hours of tedium. One other observation - on a blueprint, the title box is in the lower right and takes up a fair amount of space. It is easier to lay out a boat on the left pointing to the right with the bowsprit sticking out over the title box.  

rxcomposite Senior Member

I guess it depends on what country the drawing originated from. In my stint as a surveyor, I have seen some GA drawn with the bow to the left and they have been drawn by prestigious Marine Engineering firm. I once asked this question and Ad Hoc explained who does what but I lost the link. It was a very long time ago. All I can remember is there is no standard.  

SleepyOldDog Junior Member

From my old PNA (1967) Chapter 1 Section 1 Para 1.2 Arrangement of the Lines Drawings ... "In the sheer plan, the ship is usually shown with its bow to the right. ..." I don't know of any other reason for this industry convention. But, just to make it interesting, submersible vehicles are "typically" shown bow left on the lines drawings. Why? Just because that's the way Rickover and GD/EB did it on the Nautilus? Now, does anybody have a drawing of Bushnell's "Turtle"? (Google images: Bow right?? I guess David Bushnell didn't get the memo...) Or, was Jules Verne's Nautilus drawn bow left?  

Eric Sponberg Senior Member

From my experience, in America, boats are drawn bow to the right. In Europe, the norm seems to be to draw boats bow to the left. I think this is just convention that has evolved over time. Personally, I draw my boats bow to the right. Following that logic, one wonders why boat designs from New Zealand and Australia aren't drawn upside down??? Or maybe the Aussies and the Kiwis think we draw our boats upside down. You can usually tell how sweet looking your design is, aesthetically if, after you draw it, you flip the drawing end for end. If the design makes sense to you and is appealing in the reverse image, then it is probably a good looking design--universally. Eric  

Olav naval architect

Eric Sponberg said: ↑ [...] In Europe, the norm seems to be to draw boats bow to the left. [...] Click to expand...

Olav said: ↑ I'm sorry, but I have to dissent. All drawings from European design offices, yards and other sources that I am aware of and use in my daily work show the bow to the right (exept for the case that the port side of the vessel is of importance and has to be shown on an additional sheet). A lines plan would therefor show the port side of the vessel. Common practice is to have x positive to fwd, y positive to port and z positive upwards. The origin is then the intersection of axis of rudder stock, centreline and baseline (usually at the upper edge of the keel). Right now we're working on an project with an American yacht builder and still have to get used to a coordinate system contrary to what we are familiar with (they use x positive aft, y positive to starboard and z positive downwards, with the origin at the fwd perpendicular and with z = 0 at the design waterline). Just my two cents... Click to expand...

Eric Sponberg said: ↑ Well, first that's nice to know that European designers design bow to the right. Although, I do see a lot of drawings (publicity drawings, admittedly) with the bow to the left (do the magazines like to flip things around???) Click to expand...

DCockey Senior Member

The majority of small boat plans I've seen (generally under 65 ft / 20 m) have the bow to the right but a few, particularly plans from the early 20th century, have the bow to the left. Several designers such as Starling Burgess have used both bow to the left and bow to the right. "Bow to the right" appears to be have been the established convention for large vessels since at least the end of the 18th century. All of H. F. Chapman's plates in Architectura Navalis Mercatoria have the bow to the right as well as other 18th century drawings I've seen photos of. The coordinate system with the origin at the fore end of the design waterline as described by Eric appears in a number of texts and references on small craft design by European as well as North American authors. For larger vessels there does not appear to be a firm consensus on where to start numbering stations from, the forward perpendicular or the aft perpendicular. Principles of Naval Architecture , Volume I, 1988 says: Body plan stations are customarily numbered from the bow, with the FP designated as station 0. In Europe and Japan, however, station 0 is often located at the AP, with station numbering from aft forward.​ ITTC Symbols and Terminology List Final Version 1996 is silent on station numbering and provides alternative terminology for defining hydrostatic locations as distance from forward and aft perpendiculars respectively; for example XAB Longitudinal center of buoyancy from aft perpendicular Distance of center of buoyancy from aft perpendicular XFB Longitudinal center of buoyancy from forward perpendicular Distance of center from forward from forward perpendicular ​ ITTC Symbols Version 2008 provides definitions for centers based on a "reference point"; for example XCB (ships, hydrostatics, stabil-ity) Longitudinal centre of boyancy (LCB) Longitudinal distance from reference point to the centre of buoyancy, B ​  

Getting HOT. Now we are into station numbering. From FP or AP? And nobody said about the station/frame to be of equal spacing except for the convenience of using the old system of Simpson's rule.  

viking north VINLAND

Could be nothing more than the majority of engineering/drafting is carried out by right handed people,we read from left to right thus point the vessel in that direction subconsciously orienting it for what it is deigned to do " Go to Sea, away from the viewer. In comparison have you noticed many, possibly the majority of old sailing ship paintings are shown bow pointing left toward the viewer as if returning home , back to port.  

Could there be a connection? The Japanese reads from the back to the front. And yes, the Arabs too.  

Eric Sponberg said: ↑ Although, I do see a lot of drawings (publicity drawings, admittedly) with the bow to the left (do the magazines like to flip things around???) Click to expand...

rasorinc Senior Member

It is all very simple of course. It is based in the ancients study of the relationship of the Earth relative to the Moon and the Sun according to Plato's great friend Mercury. Good Night all.  

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PAR Yacht Designer/Builder

It's simply traditional and there's no good reason for this orientation. I find it easier to view lines with the bow facing the left, but am accustomed to bow right too. It might be that the Admiralty insisted on it a few centuries ago or something equally as devious, but not as probable as one might think.  

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Stavropol Krai

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• 11 Stay safe

<a href=\"https://tools.wmflabs.org/wikivoyage/w/poi2gpx.php?print=gpx&amp;lang=en&amp;name=Stavropol_Krai\" title=\"Download GPX file for this article\" data-parsoid=\"{}\"><img alt=\"Download GPX file for this article\" resource=\"./File:GPX_Document_rev3-20x20.png\" src=\"//upload.wikimedia.org/wikipedia/commons/f/f7/GPX_Document_rev3-20x20.png\" decoding=\"async\" data-file-width=\"20\" data-file-height=\"20\" data-file-type=\"bitmap\" height=\"20\" width=\"20\" class=\"mw-file-element\" data-parsoid='{\"a\":{\"resource\":\"./File:GPX_Document_rev3-20x20.png\",\"height\":\"20\",\"width\":\"20\"},\"sa\":{\"resource\":\"File:GPX Document rev3-20x20.png\"}}'/></a></span>"}'/> Stavropol Krai is a region in Southern Russia , which borders Krasnodar Krai to the west, Rostov Oblast to the north, Kalmykia to the east, and all the republics of the North Caucasus to the south.

• 45.05 41.983333 1 Stavropol — this capital city is located in a particularly mountainous area of the region and was one of Russia's most important bases during the Russian conquest of the Caucasus ; former home to Mikhail Gorbachev and it has a particularly nice urban park
• 44.200833 43.1125 5 Mineralnye Vody — a health spa city named for its "Mineral Waters" at the edge of the; a common flight destination for visitors to the North Caucasus

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Stavropol Krai contains a large number of Caucasian health spas/sanatoria, which Russians have visited for over 200 years to treat various ailments (and just to escape the northern climate of Moscow and Saint Petersburg . As such, the region has been home to many of Russia's most prominent figures, including writers such as A.S. Pushkin and Mikhail Lermontov, whose works have embedded the Pyatigorsk region into the national consciousness. A great read for anyone visiting the region is Lermontov's short novel, A Hero of Our Time , which is set in various areas in the south of the Krai.

Stavropol Krai is also notable for its exceptionally diverse climactic and topographic diversity. The environments range from sand deserts, to mud flats, to steppe, to forest, to mountains, to permafrost!

Russian is the soup of the day.

By rail, most visitors will arrive at the regional transit hub of Stavropol .

Domestic flights to Stavropol ( STW   IATA )and to Mineralnye Vody ( MRV   IATA ) (which is closer to Mount Elbrus, the North Caucasus , and the health spas) are common around Russia.

• Mountain Beshtau Uranium Mines (RU) . 238 kilometers of mines inside Mount Beshtau 7 km from Pyatigorsk city. Closed in ~ 1971, but explored by diggers today. The site guides offers adventure descend into the mines with ropes and equipment. ( updated Mar 2019 )
• Mountain climbing
• Quail hunting
• Sulphur baths

Because of its proximity to the conflict in Chechnya , the security situation is very poor in Stavropol Krai. While kidnappings are unlikely, there have been fairly regular bombings of public areas and official facilities in the southern cities and in Stavropol over the years. While a visitor is fairly unlikely to be victim to such terroristic attacks, the resulting crackdown has led to strict and unfortunately corrupt policing of the area — a visitor is quite likely to be harassed for bribes.

Stavropol Krai is the nearest “island of freedom” (in every sense) for residents of neighboring Chechnya and Ingushetia, who often visit this region for entertainment purposes (alcohol, nightclubs), therefore, it is not uncommon to run into them in entertainment establishments and at night on the streets. They are often armed with knives and pistols. To prevent conflicts, it is better to refrain from reacting to possible provocations on their part and simply walk away from them.

• Stavropol State University — located in Stavropol, owned in 1996
• North Caucasus Gumanitarium Technological University — main located in Stavropol, but have own filials in Pyatigorsk, Kislovodsk and Ingushetia
• North Caucasus Gumanitarium Technological Institute;
• Stavropol State Medical Academy
• Stavropol State Agrarium University — one of the best agrarium university in Russia;
• Pyatigorsk State Linguistic University — one of the best linguistic university in Russia.Located in Pyatigorsk;
• Pyatigorsk State Technological University — located in Pyatigorsk
• Kislovodsk State Technological University — located in Kislovodsk

In Stavropol krai there are three GSM operators (MTS, Beeline, Megafon), one 3G-UMTS operator (Beeline) and one CDMA operator on 800 MHz frequency (RusSDO) and they often have offers that give you a SIM card for free or at least very cheap. If you are planning to stay a while and to keep in touch with Stavropolean and other North-Caucasus, South-Russians people, then you should consider buying a local SIM card instead of going on roaming. If you buy a SIM card from a shop you'll need your passport for identification. It only takes five minutes to do the paperwork and it will cost less than $10.

Stavropol Krai is a common jumping off point for tourists venturing into the North Caucasus . Basically any city in the region can be reached via minibus or taxi from Mineralnye Vody.

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49.81m  /  163'5   heesen   2017.

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