werner yacht design

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WERNER YACHT DESIGN

Naval architecture & yacht designer

LC1 ( ) ( VIRAGE LOUIS CHIRON )

WERNER Yacht Design - an uncompromising focus on combining style and performance.

For 25 years we have had many clients visiting our office in search for their perfect motor yacht. With most of them we have developed a personal bond lasting for years. This has led, to numerous custom designs. Some elegant, some sturdy, some contemporary, but no matter what style, we put our hearts and souls into every single one of them. And we will continue to do so, translating your vision into a yacht that will surpass your wildest dreams.

Visit us at the Designers Gallery, Virage Louis Chiron, stand LC1.

Contact us: P  +31 299 373 813, W www.werneryachtdesign.com

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PROFILE: Werner Yacht Design

As part of an ongoing series of profiles of Dutch yacht designers and naval architects, we talked to Theo Werner of Werner Yacht Design

VOLENDAM – The year 2019 was a busy one. Theo Werner saw several of his designs launched and new ones plop into his lap. All will pad his varied portfolio stretching back 22 years. Ask Werner what he does for a living and he’ll tell you, “I draw honest boats. Not artsy, overly designed ones. But real boats.”

His portfolio contains trawlers, commuters, saloon boats, voyagers, (semi) classics, explorers and speedboats. His office brims with photos and scale models. Of a commuter yacht, for instance. A slim, fast craft that in the 1920s and 1930s ferried New York-area tycoons to and from work.

In July, Altena Yachting launched Sirena, a 15m (52ft), Werner-designed semi-displacement, aluminum motor yacht whose owner aired ambitious demands. He ordered a heavy craft with a 20+ knot top speed, a combination many designers shun.

“We spent a huge effort optimizing the hull design,” Werner remembers. “Perhaps my most complicated design ever! The yacht had to be fast, have 3 cabins, 3 wet cells and central steering. The latter complicated the guest cabins layout down below. Also, ventilation had to be forced into the yacht which required space for air ducts.”

Werner relishes a challenge. A few years back, he heard through the grapevine that an ex-client was looking for a new yacht. Unasked, he drew one based on what he recalled of the former client’s wish-list, way back when.

He made assumptions about weight, resistance, engine power and so on – all dicey factors, but it worked out OK. Werner gave the yacht a plumb bow and sharp, double spray rails and got the nod to complete the work begun. His design was put through a Computational Fluid Dynamics test. Half loaded, the design was no problem but fully loaded, the ship was difficult to push over its own wave.

“We adjusted the prop shafts and trim tabs to generate considerable lift,” he says. “That led to more resistance at low speeds, but generated enough lift at high speed putting the ship, even when fully loaded, flat on the water. Also the resistance dropped and the boat accelerates smoothly to about 20 knots.”

As a youngster, Werner knew he’d be working with boats, spent much time on his parents’ motorboat, opted for technical schooling and devoured yacht and ship building books. An early design of a 40ft sailing yacht gave him a job at Pieter Beeldsnijder whose studio has worked on 2,500 projects. He later moved to André Hoek Design and started his own studio in 1997.

His work includes the conversion of a 180ft sea tug into a yacht, the design of an 88-ft motor yacht in 1960s retro style and a sleek, modern 140ft. explorer. A recent assignment was the Delfino 67 from the De Alm yard. The 20m sea-going trawler is a rare mix of elegance and robustness that, despite its modest length, has a spacious, practical interior.

Werner is now working on the 26m ISA project. Construction of the steel/aluminum shell is being finalized. “Although it is a 26m yacht, its load-line is under 24m keeping it outside international regulations for large sea-going vessels which simplifies the commissioning and ownership of the yacht.

www.werneryachtdesign.com

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The Werner Yacht Design started at the beginning of 1997. Initially, they worked on approaching the design differently from other types that were out there. Primarily they sought out different ways in which they could avoid having the interior of the boat dictate the way the outside would look. In addition, they did not want the styling to dictate the outcome, but rather act as the starting point for the design created.

Therefore, styling always took precedence in the creation of the yachts. Each time, both the exterior and interior layouts were styled at the same time. At no time was one preferred over the other.

Anytime a client is worked with, the best style is chosen according to their taste and then applied consistently in the boats design so that it sings in harmony. Additionally, limitations are always respected according to the size of the human body when the interior is designed. Anytime, it is not feasible to fit all that a client wishes, generally the preferred option is to scale up the design of the yacht.

In general, the addition of a small amount in relation to the yacht length can often make a huge difference in relation to the way that the boat looks within the interior. In addition, the hull and superstructure lines continue to look good. As a result, all of the styling and designs result in a beautiful and stunning result.

The original design of the 30 metre Werner yacht was to consist of a length consisting of a max length of 100 ft. However, the design was not long enough in order to incorporate a tri deck design. It was decided that the inclusion of the tri deck design would risk the graceful and elegant design.

However, the Werner decided to adopt the raised pilothouse concept so that it would not lose elegance and grace. In addition, the yacht did not have enough length for a tri deck concept like the 105 Werner tri deck motor yacht.

Ultimately, the raised pilothouse consists of a complex interior and construction within its layouts that is a designer’s worst nightmare. Furthermore, Werner made the decision to make the bridge as large of the typical tri deck yacht. Currently, the Werner Yacht design is a well-established name. They have become known for their superior design and quality.

In the beginning, many of their focuses consisted of the classics and retros, therefore they have a large amount of knowledge in regards to boats designed within the 1920’s and 1930’s. In addition, they have the capacity to design any type of style, as well as incorporate a large amount of detail within the design.

Mainly, there are two rules that are followed throughout the design process. First off, they consider as much as they can in regards to the preliminary design, while considering any kinds of issues they may face. At that time, all issues are faced and then followed with the second part of the process, which involves dividing the process of designing into four stages. This way the customer always gets the kind of yacht they want.

Specification of the Werner 30 :

Length over all: 30.00 m/98 ft Length waterline: 26.28 m Draft: 2.20 m Beam: 7.15 m Maximum speed: 13 knots

Related links: Werner Yacht Design Photo: werneryachtdesign.com

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Moscow Boat Show 2014: ‘Yacht Design Day’

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Written by Zuzana Bednarova

Today, Friday, March 14, will see the currently running Moscow Boat Show 2014 host the ‘Yacht Design Day’ within its business program. The program of the day will comprise yacht projects presentations, master classes of famous designers, including Albert Nazarov from Albatros Marine Design , Theo Werner from Werner Yacht Design , Jaron Ginton from Ginton Naval Architects BV, Inigo Toledo from Barracuda Yacht Design and other prominent experts, as well as meetings between designers and potential customers.

Moscow Boat Show 2014

Designers and manufacturers will present superyachts projects during the ‘Yacht Design Day’ that will be organized in the framework of the Moscow Boat Show business program:

– Ing. V. Ruggiero from Ruggiero Yacht Design (Italy) will present projects of the 77,7 m yacht and make a Master-class on creating mega-yachts projects; – Inigo Toledo from Barracuda Yacht Design (Spain) will present several projects being realized in different countries, including superyacht B-165’ and classic sailing yacht B-190’ . He will also make a Master-class on creating a design concept from the very beginning; – Jaron Ginton (Ginton Naval Architects BV) from the Netherlands will describe his 40 m Motor yacht and 35 m Sailing yacht projects and answer the questions. – Stefano Pagani Isnardi, the Italian marine industry association representative, will make a report on Italian Superyachts market and key Italian superyachts manufacturers; – Barbara Amerio from Permare Group ( Amer yachts ) will present all stages of yacht construction – from design project to launch; – Ervin Bamps ( Gulf Craft , UAE) will present Majesty yachts brand; – Albert Nazarov (Albatross Marine Design, Thailand) will present his projects and make a Master-class ‘Yacht design: delving into reality’.

Besides, the visitors are welcome to arrange individual meetings with each expert, ask questions, discuss opportunities for partnership, projects design and yachts construction.

The ‘Yacht Design Day’ will be held on Friday the 14th of March on 12:00-19:00 in the framework of the Moscow Boat Show business program. The Conference hall will be located in the Hall 13 of International Exhibition Center Crocus Expo (Moscow, 65 km Moscow Ring Road). Participating in all events of the business program is free for Moscow Boat Show visitors.

Please contact CharterWorld - the luxury yacht charter specialist - for more on superyacht news item "Moscow Boat Show 2014: 'Yacht Design Day'".

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History of German Calligraphy

• Statement regarding my activities in lettering art

Werner Schneider is a calligrapher, part of a distinctive German tradition that emerged at the end of the 19th century and which includes E.R. Weiss, Rudolf Koch, F.H. Ernst Schneidler and Hermann Zapf among many others. Schriftkunst (letterart) literally means “writing art”, but in practice it encompasses a range of activities involving letterforms: handwriting, script, calligraphy, drawn lettering and type design.

Schneider believes that as we approach the third millennium there is an increasing need for a greater consciousness of the eternal beauty of the Roman monumental letter and a recognition of the deleterious effects of geometrically-based letterforms.“Refined forms, above all others Roman capitals, have been my best teacher,” he has said. “Looking at the inscription on the Trajan Column awakens in me again and again a strong aesthetic feeling and fills me with a sense of deep respect. These nearly perfect forms and their qualities could not be improved upon during the 2000 years of their existence.” The Roman monumental capitals stand in stark contrast to geometric letters – both those proposed by the modernist design movement of this century and those recently created in response to perceived requirements of computers. Schneider is harshly critical of the latter: “I respect the ideas of the German-Bauhaus, but the Bauhaus is to be blamed for its failure in the field of lettering. A purely constructed approach to letterforms leads to inhuman results. Bayer‘s Universal typeface ignores all the laws that have influence on the perceptual function of the human eye. The introduction of electronic techniques has created a new situation. Technicians have tampered with letterforms and forced them into a corset of equal widths.

Considerable visual damage has been the consequence of such brutal handling. All mathematical or geometric approaches to lettering lead to a loss of visual quality. Given the hectic times in which we live and our enthusiasm for an unending string of technological achievements and their unlimited possibilities we run the risk of losing our understanding of fundamental visual laws.”

Like Adrian Frutiger as a worldwide type-designer, one of his heroes, Schneider sees salvation in the written letter, “the best basis for the study of all letterforms”, since it provides training for both the eye and the hand. “For an understanding of form there is only this sequence: writing and drawing as a means of sensitizing the eye, followed by work on the computer”, concludes Schneider. In his opinion, the study of letterforms is as critical a component of our civilization as the study of any artwork in our museums.

Werner Schneider‘s own work is emblematic of the high standards that can be achieved in letterform design today. His work is a reminder of the timeless quality and value of Roman capitals, as well as the other scripts that constitute our Western alphabetical heritage. Yet, at the same time, his work also shows how important it is to keep the tradition alive not simply by copying the past, but by imbuing it with a new modern spirit. And this can only be accomplished by deeply understanding these letters–absorbing them into our fingers and muscles, as Schneider has done in his long career. Only then can we create new interpretations that will in turn be the classics for the future. And only then can we have the confidence to challenge the standards of the past through new explorations of tools and the scripts that reside within each of us. Scripts present the personal aspect of calligraphy while Roman capitals and other historic hands represent the communal aspect of this art.

Together they remind us that the art of letters is unique in its role as both personal expression and cultural communication; and that quality of our letters is a reflection of our civilization.

Paul Shaw, New York.

Author works

My God, my God, why hast thou forsaken me?

Geometry can produce … Paul Standard

I am that I am. Exodus 3.14

My fault, my own fault, my most grevious fault…

Every man is a sinner; it is the nature of the sin that differs. Lichtenberg

The Roman capitals were not made for one day

Believe me, a serious cause is a source of true joy. Seneca

The artist is just one who can turn solution to riddle. Karl Kraus

My heart is Astir…. Psalm 45,3

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The Roman capitals were not intended for one day

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Calligraphy is the flower of a man′ s soul.