A new concept in yachting: a boat that looks as though it’s come from outer space
A glass Skydome, a ritual ofuro with ocean views and a submarine: the owner gave Marc Newson free rein to design the 114-metre Nausicaä.
‘It is a vessel that completely redefines the concept of yachting.’ Such a bold statement requires a certain amount of courage. But given that Peter Lürssen represents the fourth generation of the family running the shipyard of the same name, it is entirely justified. With one caveat: he should have said ‘redefines the concept of yachting for vessels over 100 metres’. The name Lürssen may be familiar to anyone with half a billion euros to spare and wishing to spend it on something that takes four and a half years to build and costs tens of thousands of euros a day to maintain. The company also accepts orders for 80-metre yachts, but is famous for its gigayachts measuring over 100 metres. The large shipyard near Kiel, on the German coast of the Baltic Sea, has built some of the most memorable floating palaces of recent decades: Octopus, commissioned by Paul Allen; Larry Ellison’s Rising Sun, now owned by David Geffen; Kismet, owned by sports executive Shahid Khan, as well as the yachts of the Sultan of Oman and those of certain Russian tycoons who are no longer in the news. In contrast, in the yachting world there is much talk – and plenty of it – about Lürssen’s latest creation: the Nausicaä, 114.2 metres long, built for Yusaku Maezawa and designed by the Australian industrial designer and creative director Marc Newson. Maezawa is a billionaire like no other. He abandoned a promising career in a punk-rock band to become an e-commerce magnate, founding the e-commerce site Start Today and later the bespoke clothing brand Zozo. He is famous for his social experiments, such as handing out millions of dollars in cash to followers chosen at random. In 2021, he went on holiday to the International Space Station. He holds the record for the most expensive Basquiat artwork ever purchased: more than 95 million euros for a painting depicting a skull. The next step could only be a yacht.
He gave Newson what every designer craves: a free hand and a blank cheque. It’s only natural that the designer speaks of him fondly: ‘He had no preconceived ideas about what he wanted; he was truly open to experimentation: this freedom allowed the project to evolve in a joyful and organic way’. At their first meeting, when asked how many cabins he wanted, Maezawa replied ‘just one’; it was essential, however, that there be space on deck for an awning and a washing line, to foster a sort of communion with the elements, as the philosopher Thoreau put it. In fact, the vessel has eight guest cabins and a huge 230-square-metre suite – a large flat – for the owner. In the bathroom, alongside the traditional sauna and Turkish bath, there is a ofuro ritual bath: a deep, box-shaped tub designed for immersion and reflection. And to heighten the contemplative experience, simply press a button to make a huge sheet of glass slide silently along the wall, revealing an unobstructed view of the ocean.
Whilst many gigayachts may resemble floating multi-storey car parks, Newson has challenged conventional wisdom. “First of all, I removed a deck. Common sense would suggest this is a daft choice: it’s like turning a four-storey house into a three-storey one,” he says. Instead, although the vessel, at 32 metres, has the overall height of an average gigayacht, the removal of the deck creates the optical illusion of floating at a lower level. The Nausicaä has an almost minimalist profile, but the interior proportions are maximised. “This results in higher ceilings and more harmonious spaces,” says Newson. It is particularly evident in the double-height entrance hall, which is used as an art gallery. “You could easily fit a car in there,” he jokes. And it’s true: Maezawa could park his bespoke Pagani Zonda in a corner, and you’d hardly notice it.
According to Newson, ‘one of the challenges in designing a large yacht is the intersection between outdoor and indoor spaces’. Having been given complete freedom, however, that no-man’s-land has been replaced by a seamless transition. ‘I am proud to say that every detail has been created with absolute design consistency,’ he explains. His signature style is evident in every curve, every element, every rounded corner and every bevelled edge. His aversion to the concept of straight lines echoes William Kent’s observation that nature abhors straight lines. On the aft deck there is an 18-metre open area with a swimming pool deep enough to dive into. Beneath this is a dry dock with a capacity of 16 tonnes, capable of handling a 12.5-metre sport fishing boat, complete with a private cabin and shower. When the boat is launched, the dry dock becomes a covered extension of the aft swimming pool, providing access to a sort of beach club. A similar level of flexibility is found in the space housing the crew’s tender, which transforms into a sushi preparation room, as evidenced by the professional knives on the wall. There is also space for a submarine, also designed by Newson and built by Triton, James Cameron’s company. ‘Maezawa can drink champagne at a depth of 200 metres.’ At the bow, a lounge offering a 180-degree view transforms into a karaoke bar at night. “There’s no other yacht with a bow like this,” says the designer. Usually, this area houses the helipad, whilst on merchant ships it contains the anchor and machinery.
Newson moved the helipad to a higher deck and installed a viewing platform there, from which one can enjoy a unique view. The centrepiece, however, is the Skydome: perched atop the superstructure like one of American architect Buckminster Fuller’s geodesic domes, it serves as the owner’s private retreat: a 3.15-metre-high eagle’s nest. Here, Newson has been able to express his passion for the structural use of glass. Each of the seven large panes measures 3 metres by 2.8 metres, is 62 millimetres thick and weighs just over a tonne. It is hard to imagine the cost and the time involved in testing and developing these glass panels so that they can withstand the most extreme conditions of the North Atlantic, whilst maintaining their optical integrity across the curvature. In the past, Newson worked on Solaris, Roman Abramovich’s yacht. ‘I suppose you could call it a bit more conventional,’ he says. On the Nausicaä, everything is bespoke, even the engine. “We put pressure on the shipyard to have the Azipod marine propulsion system fitted, in which the electric motor is housed inside a huge capsule mounted beneath the hull,” explains the designer. “The entire structure can rotate 360 degrees, enabling both propulsion and manoeuvring. It’s an exceptionally manoeuvrable and efficient system because it eliminates the need for a gearbox, propeller shaft and rudder, unlike on other boats.”
