Our team has worked in the design field for a number of years, which has helped us to not only fully understand the process, but most importantly to form our own approach to what really matters when it comes to designing a yacht.

Design skills:

Olin J. Stephens II described the design skill in the book “Sparkmans & Stevens – Classic Modern Yachts” as follows: “…. intuition and a good eye for [the] line. Common sense and balance, in the overall sense, are useful guides”. These key abilities are supported by our experience, a lot of work, as well as research on the one hand and being in touch with the ‘Zeitgeist’ on the other.

A yacht designer needs a certain core motivation. This motivation is the engine of the creative process. As such it feeds the desire to improve on existing design approaches, overcome prejudice and conquer new grounds. It is a transgressive process of challenging and questioning - inducing an incisive approach for the next design. It is also a provocative and stimulating process with a singular aim, to achieve the optimum design outcome.

We believe this mindset has to be in place before you use any of the “tools” available, mentioned below, and begin the design process.

Computer aided design (CAD):

In boat building one of the biggest advances in more recent history is the introduction of CAD. This technological breakthrough has been a great support to the industry as it can verify data and highlight some of the problems at an early stage.

However it is important to be aware of the flip side.
CAD when used as the sole implement has started to dictate terms of design possibilities and more importantly their limitations. It is crucial to remember what this technology is, essentially a tool equal to a pencil, model making and a tape measure. It can never replace design philosophy and human skill. Designs created solely with the aid of CAD are, more often then not, lacking in warmth and detailing. Both are key elements in making a design personable.

Analogue skills in a digital age:

Realizing the limitations of CAD we quickly understood that in order to produce great designs we have to go back to basics, and after our initial design brief we must thoroughly review the volumes and proportions we create. Handmade approaches like model making and sculpting are used parallel to CAD. We never rely on just on one medium for analyzing our shapes. We feel that this has reinstated the human quality in our designs – an element which so often is missing.

Humanizing modern materials and techniques:

There have been breathtaking advances in terms of material developments as well as new state of the art lighting. All these open up fantastic new opportunities for designers and what they can offer to their clients within the yacht industry. However it is still the traditional quality of craftsmanship which turns the materials into a realized design - as such adding the ‘human touch’ to the final product. We take pride in using all these elements to their full potential as they give warmth to the design - something a machined process on its own cannot achieve.

The client:

The client is the catalyst for every project. Their wishes and visions are the basis of the creative process and design development. The relationship has a huge impact on the project - building a yacht is the beginning of a journey, an unforgettable experience for all parties involved and one that should be enjoyable.

It is critical for the designer to exactly understand the requirements of the client as it is important that the client believes in the skill of the designer to deliver to expectations. The most successful and rewarding projects are where there is a mutual respect between all parties involved and the ability to freely communicate.

Remora’s superstructure was a study of balance and proportion. Our inspiration came from the appearance of inherently strong objects such as metal forgings, helmets and armour. We were intrigued by the way these objects exude strength and security, the dynamics of the forged, hewn-from-solid construction appearing resolute and ready to face the elements whilst protecting all life within. This collection of attributes is directly comparable to those required by a yacht.

The helm-like forward superstructure gently grows from the foredeck, gaining volume and sweeping aft to encompass the extensive sundeck. Wing-like extrusions contain the port and starboard control stations. The glass visor of the helmet houses the nerve centre of the vessel - the wheelhouse.

In contrast to the grounded forward volumes, the aft superstructure pares away from the deck house to reveal a deconstructed inner structure of finer detail and transparency. Glass affords natural light and views to the interior spaces here and its use has been undaunted by common convention. Double height concave panels characterise the aft end of the vessel illuminating the architectural expanses within whilst adhering to the exterior form language.

The aft of each deck culminates in a sharp point, the upper most resembling an insect sting whilst also providing a foundation for the wing-like sun awnings.

The centrepiece of Remora’s superstructure is the sundeck funnel structure. This pavilion consists of convex and concave shapes broken up only by the louvres of the air intakes, which are set in a contrasting dark colour. It embodies the Claydon Reeves Design Language, making it a unique, almost stand alone feature. Despite its form-lead aesthetic, efforts were also made to improve those technical aspects that are traditionally neglected on yacht masts. For example the radar-shadow of the mast is much reduced compared to many existing masts currently built.

This composition of strength and fragility leads to an interesting power play between the front and rear of the boat. Both use different methods to achieve their form but together create a balance with incredible dynamics. Long hours of delicate in-house development were crucial to this outcome.

Claydon Reeves’ approach to interior design is to focus entirely on our clients’ requirements. Our skill set enables us to tailor each project precisely to the client’s needs, subtly weaving style references into the detailing and layouts. Whilst all interior spaces have to fulfill their functions they also invite us into the client’s world. This ensures that every project gets completely fresh consideration, for an outcome that is always unique.

Working within the superyacht arena we are accustomed to creating the highest level of precision in luxurious interiors for the most discerning clients. These interiors are created within the strict constraints of space, safety and functionality that the marine environment demands. Whilst we continue with our work creating yacht interiors we are successfully translating this knowledge into the interiors of residential properties.

With our initial training in automotive design, we have chosen to implement a design tool long used in the car industry – that of the speedform. The speedform originated in the 1950s as the new Jet Age made its mark on the car industry. The aerodynamic, teardrop shaped forms that became popular in vehicle design needed developing and refining at an early stage of their evolution, long before they could be committed to the production line. As the designers of the time were not blessed with the sophisticated and instantaneous modelmaking tools we enjoy today, speedforms were lovingly crafted from wood or metal. They were simple sculptural forms created as an efficient way of evaluating and evolving new idea directions.

Over the last two years we created a number of similar sculptural form studies to inform and illustrate our continuous process of creating fresh and exciting motor yacht exteriors - our hydroforms.

The hydroforms are deliberately lacking in detail and can usually be relevant to several size ranges of yacht. By simplifying a complicated form into a single, pure volume we can determine whether it is inherently beautiful at a very early stage in the creation process. An ill proportioned design will only get worse as the subsequent layers of detail are applied, so by confirming from the outset that the basic underlying shape is right we guarantee ourselves the best possible canvas to paint the rest of the design. Furthermore, being able to physically inspect the design in one’s hands and view it from every angle is a very compelling argument as to the success – or failure - of a design.

Our hydroforms are primarily used in the early stages of the design process for two specific purposes. First they allow the studio to quickly evaluate potential new design directions, whether it be determining the effects of scale and proportion as a design grows, or by experimenting with new ways of shaping the large continuous metal surfaces all yachts are constructed from. Secondly they illustrate these design directions to the client through small models that can be picked up and spun around in the hand to provide a highly tactile method of explaining ideas and informing a final design direction. They are a quick and compelling way of illustrating an idea.

These days we begin by sketching concepts then quickly move into 3d modelling software – both Rhino and Alias – to refine the forms. Some ideas can be quickly appraised and discarded at this digital stage without seeing the light of day, however the more successful forms will be rendered and assessed at a higher level of detail, still within the computer. The best are CNC milled from toolboard and hand finished ready to be presented to a client or exhibited at a boat show.

70m Caspian

The Caspian Hydroform 002 exhibited in Monaco in 2010 covered a yacht size range of 45m to 75m. In addition to Caspian at 70m we have successfully applied the same form and surfacing language to two other vessels, at 50m and 60m. In many ways, this Hydroform showcases all of the signature Claydon Reeves exterior styling cues. The Caspian hydroform was of particular use when defining the sheer line, as we were able to refine it in 3d while keeping an eye on the internal volumes within.

110m Radiance

The Radiance Hydroform 003 allowed us to balance the proportions correctly at an early stage; we then used a very light touch on the actual details, knowing that the underlying balance of volumes was correct. The higher decks are long and straight with no fashion plates while the aft-cantilevered superstructure rises up from the main deck in a gently tightening arc the higher one climbs. Moving forward, the form language sharpens, adding surface changes and concave areas to the structure instead of steps, grilles or unnecessary appendages. The form eventually culminates in the vertical blade of the classic 'plumb' bow.

Hull Line Design

We categorise our yacht exteriors into either a one-line boat or a two-line boat. This refers to the number of curves required to form the sheer line – the main shoulder that connects the bow of the boat to the stern, defining the hull below and superstructure above. Radiance is a one-line boat with her single convex arc, whereas Caspian is a two-line boat because her sheer line flips from positive to negative as it travels aft, running from convex to concave as it exits the transom.

To explain this design process further it is best to look at these examples in a little more detail:

110m Radiance – One-line
Radiance is a 110m motoryacht jointly developed with Edmiston and unveiled at the 2011 Monaco Yacht Show. Early in the design process for Radiance we spent considerable time sketching the proportion of the boat. You’d think the larger a boat gets, the easier it becomes to draw, however you cannot always use the same design techniques you would use on – say - a 50m vessel. What looks right on a smaller boat can quickly become fiddly and insignificant as the size increases. Just scaling up the detail doesn’t always work either as you can end up with a 100m vessel that looks like a 50m, just with tiny people on board. Size is an asset and shouldn’t be played down or disguised just because it is hard to control.

Instead, a new approach was required and we decided that less is most definitely more. As a rule we will always try to define the form of the yacht with as few lines as possible, spending more time refining and honing the lines we do have. Ensuring that the bow profile, the sheer line, the hull form (above the water), the bulwarks and the bonnets are well balanced and graceful is more important than adding extra elements that will only clutter the design.

Radiance is based on this principle with a single strong convex sheer line that starts at the bow and finishes at the stern in a single arc, further reinforced by her two-tone hull. The higher decks are long and straight with no fashion plates while the aft cantilevered superstructure rises up from the main deck in a gently tightening arc the higher one climbs. Moving forward, the form language sharpens, adding surface changes and concave areas to the structure instead of steps, grilles or unnecessary appendages. The form eventually culminates in the vertical blade of the classic 'plumb' bow.

Internally the high volume exterior provides a multitude of unusual spaces that are as much architecturally inspired, as they are yacht. Double height spaces combine with exceptional vistas, galleries and balconies to welcome and intrigue guests within the expansive interior.


70m Caspian – Two-line
A two-line sheer line has to be tightly controlled because it has a lot to achieve over a given length. Viewed at an acute angle it mustn’t appear to “s” too strongly as it bridges the divide between hull and superstructure over a given length and height. The most critical area is always the main deck amidships zone. A two-line boat tends to struggle to allow natural light to permeate the interior at this point because you need plenty of metal around the sheer line to aesthetically strengthen what is arguably the most important line on the boat. However, as one of the most desirable internal areas of the boat it is also imperative to allow as much natural light into this area, fitting windows around the sheer line as sympathetically as possible. It’s very easy to run out of headroom here as the dropping sheer pinches the window heights as it heads aft, ending up with views staring straight into the upper window frames.

To rectify this we chose to break the hull windows right through the sheer line itself – not something we undertook lightly as bisecting the sheer can make the most important line on the boat lose its way completely, making the boat appear weak and fragile right where the surrounding volumes should ensure it is at its strongest. However in this case we spent considerable time working on the window shapes – the width to height ratio - and their surrounding concave frame details to ensure the clarity and strength of the sheer was maintained.

Concavity is a major external styling feature that we are developing on all our designs at the moment. Light hitting a concave surface creates highlights that are totally different to a convex surface. They can take up a lot of unnecessary depth into the internal spaces of the yacht though and care must be taken when applying this technique, particularly on smaller yachts.

Michigan, Huron & Ontario

When approached by Burger, Claydon Reeves were delighted to take on the challenge of looking at a 50m version of motor yacht Caspian. Caspian is a 70m Claydon Reeves concept which was first introduced at the Monaco Yacht Show 2011, instantly creating a lot of interest. The 50m concept had to offer a high interior volume for a yacht of its size whilst offering the possibility of an intuitive layout.

The outcome is Michigan and her two siblings Huron and Ontario. To make the design for Michigan work on a profile 20 metres shorter than the reference boat Claydon Reeves had to start the development from scratch.

The company design principles of Claydon Reeves, such as concave surfaces in combination with bold, taut lines are all applied to this series of yachts. At the same time Claydon Reeves sees it as their professional duty that each design is sufficiently different to all the others so that each yacht retains its very own identity. We know it is very important to owners who have committed to a unique design that Claydon Reeves will make sure that all subsequent designs emerging from their studio will be sufficiently different.

The outcome of the development is a 50m series with a cohesive design language in its own right. Each element starting from the mast right down to the waterline is integral and aesthetically links the whole yacht together.

The trio share an interior philosophy. One of the highlights is the large main deck saloon and dining room utilizing the full height windows, which flood this area with plenty of natural daylight. They have a generous full beam master stateroom on the main deck, all with large windows to ensure beautiful undisturbed views. There are four more guest cabins on the lower deck with a variety of layouts to choose from depending on the various requirements of the client. Overall the public spaces are generously proportioned and can comfortably accommodate up to twelve guests. Furthermore there is space to house up to twelve crew in five crew cabins on the lower deck, and a captain’s cabin on the bridge deck. There is also a ships office on the bridge deck, which can be adapted to house the occasional additional crew member.

What are the main differences between the three yachts?

In comparison to the other two yachts in the series, Michigan has a very contemporary feel about her with the plumb bow and the full height side windows, reminiscent of a fish’s gills. These features are softened by the double curvature Claydon Reeves signature line, which gives her an interesting but balanced and refined appearance. She is a yacht with presence and what Claydon Reeves feels can be described as a very proud appearance.

Huron has a dominant high sheer line, which guides the eye to a traditional bow. This combined with the dominant forward side windows giving her a purposeful dedicated appearance. In the style of an explorer yacht the mast has a crow’s nest accessible to guests on board. This area has been designed as somewhere to be used for whale watching or admiring unforgettable sunsets. She is a yacht that is happy to get out there and discover the world, looking for the next exhilarating adventure.

Ontario shares many of the same principles as the other two yachts, but comes from a slightly different perspective. She has the same conventional bow as Huron, which on Ontario develops into a streamlined elongated owners window with stainless steel louvres integrated into the hull. The beautiful shaped wing station is in line with the slightly curved sundeck roof, which reflects the Claydon Reeves signature line of the hull. All in all this gives Ontario a more sculptured appearance and supports the impression of great length. She also has an extended transom, giving the main aft deck a little bit of extra precious space.

Tioga & Tacoosh

Claydon Reeves’ inspiration for the Tioga and Tacoosh concept is based on recent client enquiries. We have noticed that traditional 40m yachts of the past have often attempted to imitate the design of larger yachts, the scale simply reduced down – this is not a successful way to design and is something Claydon Reeves avoids entirely. A further development in the 40m class is that many production boat builders have entered this segment, making custom yachts of this size seem an expensive undertaking. It is therefore our view that when you look at building something bespoke, produced by a yard with the capabilities of Burger, it should offer the client a package that is unique, distinctive and one which merits the financial commitment that the client has made. Claydon Reeves believe that this section of the superyacht market could be redefined by freshly considered design, that stands alone from previous attempts at designing this length of yacht.

Developing something new also means taking on the responsibility to create a design which will stand the test of time in terms of both aesthetics and function. For Tioga this is achieved by creating a strong sheer line from bow to stern. A gentle curve rises from the transom, culminating in the strong vertical element of the plumb bow. The visual features of Tioga’s exterior are the elongated nose, low superstructure with a single windshield and a floating sundeck roof. These are the elements which further accentuate the length of this elegant yacht.

Whilst sharing the internal platform and most of the external spaces with Tioga, Tacoosh has her very own external character. The difference in design was carefully worked out to retain on the one hand a family resemblance but at the same time helping her to retain her own unmistakable identity. To achieve this Claydon Reeves redesigned the character line, which in this case is the colour break of the hull, by transforming the double curvature to a single soft curve. In line with that the bow was redesigned to a more traditional angled appearance thus extending the line. As a final design conclusion, Claydon Reeves have redeveloped the mast to have a centered mast footprint on the sundeck. This gives the sundeck roof a detached, nearly floating, appearance which adds to the sleek look this version aspires to.

Currently the majority of 40m yachts are not used to cover great distances with guests aboard but often serve as picnic or weekend boats, upon which people spend an intensive few days. This type of usage puts a high demand on the external spaces – this is where Tioga has plenty to offer. The sundeck is huge, even compared with much larger yachts, and whilst offering a Jacuzzi and sun lounging area, it also features a forward dining area with stunning views.

A further key feature of modern yachting is the bathing platform and beach club which is easily accessible from the main deck. Using glass as a support for the cap rails between the main deck aft and the swimming platform contributes to a feeling of a generous open space. Finally the area forward of the wheelhouse offers a quiet space for sun lounging and can offer shade with the help of removable sun sails. This area can be transformed in a number of ways, for example Moroccan dining with voile curtains and cushions, experiences that make the journey on this yacht unforgettable.

The main deck interior offers a large open plan saloon and dining room, which can be separated with adjustable screens depending on the use of the space. The highlight of this area are the dropping bulwarks on port and starboard, turning this area into a sea terrace. Further forward there will be a galley and breakfast area with guest access as well as the wheelhouse. The lower deck will, depending on the specification, offer four guest cabins, crew accommodation for a team of five and a tender store.