The 180-foot aluminum ketch Adèle launched by Vitters Shipyard last spring is designer Andre Hoek’s largest project to date and the crowning example of the style for which his design studio is renowned: classic looks with a modern underbody and rig. As an experienced yachtsman who circumnavigated the globe in his previous yacht, owner Jan-Eric Österlund approached Hoek Design Naval Architects five years ago with very clear ideas for a dream yacht that should represent "beauty, speed and adventure." Following Adèle’s maiden voyage to the Arctic, the yacht relocated to the more temperate waters off Palma de Mallorca for last October’s Superyacht Cup. Excited by the prospect of putting the boat through her paces on the racecourse, Österlund was keen to talk about the technical and aesthetic choices that went into her design.

"Early on, it was decided that Adèle would be a ketch because as a sloop her mast would be too tall to pass under the Bridge of the Americas on the Panama Canal," begins Österlund, who plans on circumnavigating the globe for a second time. "It’s also a more versatile rig that allows us to set more sail, especially downwind, with a 500-square-meter mizzen staysail."

The yacht’s sail plan was tested in the wind tunnel at the Wolfson Unit in Southampton, United Kingdom, to make sure she would perform well in light airs. But with so much sail area, safety was also a major consideration. "We decided on traditional slab reefing, full-length battens and lazy jacks, so we can drop the mainsail in a hurry," continues Österlund. "In-boom furling on superyachts can be problematic and generates more wear and tear. I sail to remote areas, and you can’t get a mainsail that size fixed just around the corner! Besides, the lazy jacks and full-length battens give more control of the sail and, of course, the mainsail has a better profile for higher upwind speed."

"A," is for Adèle. Photograph by Justin Ratcliffe. (Click image to enlarge)

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"We tank tested five different keels and rudders at the Delf University of Technology to optimize the helm balance before coming up with the fin keel with bulb and a rudder with a fixed skeg," adds Andre Hoek. This involved a velocity prediction program developed by the design studio to measure the side forces and moments, not just on the hull, but also on the keel and rudder.

The table between the forward and main deckhouses accommodates family-size groups. (Click image to enlarge) 

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Adèle was conceived for world cruising and exploration, and that means she carries a great deal of redundant equipment (three Onan generators, three tenders, two Furuno radars and two 10,000-liter watermakers are just the start). She is also a "generator ship" in that she was designed to have a generator running continuously, except in port. "During sailing, the winches are too energy-hungry and the air-handling systems demand too much power to be run from batteries alone," says Österlund. Though this makes sound insulation more of an issue, its advantage is that the electrical system is simpler, requiring less cabling and fewer heavy batteries, which saves weight. Additionalweight savings were realized by utilizing a single, well-proven 1,000-hp Caterpillar engine. It also improves the center of gravity over the keel and reduces drag.Adèle is a home away from home for Österlund, who spends extended periods aboard with family and friends, so comfort and privacy were major considerations in the interior layout. The living areas are articulated around three classic deckhouses, allowing owner and guests to withdraw but still be part of the action. The forward deckhouse is an area where guests can relax and chat or connect a laptop. The central wheelhouse contains the nav station and chart desk and is the focal point of the yacht’s social activities. The aft deckhouse and cockpit are for the owner’s exclusive use, a solution that provides complete privacy, since the 180-foot yacht is rarely moored stern to.

Adèle’s towering rig. (Click image to enlarge)

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The ceiling in the owner’s cabin, for instance, is circular and concave, with radiating beams that are slightly twisted along their axis. This effect was achieved using CNC precision-cutting machines. Given the large volume of it aboard Adèle, her detail work—beams, fiddles, raised-and-fielded paneling and such—while subtle, is slightly more pronounced so as not to appear fussy. The generous headroom—more than 6 feet 5 inches in the living areas—allowed the use of non-structural, decorative pillars inspired by architectural columns in the sixteenth-century premises of Hoek Design in Edam, Holland. Even in the owner’s cabin, which has the lowest ceiling, Hoek, who stands at 6 feet 2 inches, has headroom to spare.

Österlund also wanted the boat to be warm and welcoming. "I love cozy corners and seating areas," he admits, "and there are lots of them aboard Adèle, both inside and out." Indeed, the owner’s cabin has its own comfy lounge. There is an intimate seating area complete with cocktail cabinet and cigar humidor in his private deckhouse. Both double guest rooms have day divans, and the main cockpit has four corner sofas and two outboard sofas. The snug, book-lined library is another of Österlund’s favorite rooms. It contains two 23-inch computer screens that he uses for photo and video editing, or for retrieving data from the main navigation computer. When combined with the mahogany finish, muted soft furnishings and subtle lighting by Polly Sturgess, the overall effect is one of warmth rather than wealth. (Click image to enlarge)

Watching Österlund at the helm of Adèle during the Superyacht Cup, he is clearly overjoyed with his dream boat. Named after his mother, he describes the yacht as "bursting with energy to live each day to the fullest," adding that, "She is sharing her adventures with all who come into contact with her….She changes the perspective of life forever, for all of us who step on board."