LOA: m 44.50
Beam: m 9.00
Depth: m 2.30
Gross Tonnage: 480 GT
Engine: 2 X MTU 16 V 2000 M96L
Declared Top Speed: 21 knots
Fuel Tank: 41,000 liters.
Heir to the revolutionary 40 Alloy, dating 2007, 44-metre Allloy is the result of Bernardo Zuccon’s deep thought, who succeeded in turning a 490gt hull into a three deck ship, featuring a three-level owner’s suite and four guest cabins. The interiors of this fourth unit are French studio Liagre’s job, a synthesis of French-Asian styles.
Well, it must be said Sanlorenzo is really skilled with alluminium. Light alloy like no other, perfect for plastically animated hulls, low weight and high performances, alluminium was core of an iconic model that, as many as 15 years ago, thrust Sanlorenzo top of SYBAss, Superyacht Builder Association.
Innovative, revolutionary, first yacht to provide her owner with full height folding balconies in the owner’s suite, in the full-beam prow area and part of the bulwark, close to the middle ship living room to make it airy, unique for the seagull wing wheelhouse door, 40 Alloy ransacked awards and sales, 10 units being delivered in as many years.
An icon was needed after an icon, to keep fit. The yard’s new cooperation with Zuccon International Project studio, begun in 2016, has given birth to the heir after seven hulls designed by the Roman studio.
Larger, 44 metres, three decks, equally revolutionary inventions, to take one more step towards cutting edge products.
Quick semi displacing hull hasn’t gone: in fact, along with the Mtu 16V 2000 M96L engines, 2600hp each, it allows a 22kn maximum speed. Thanks to a 41000-litre fuel tank, range at 12kn cruising speed in displacement exceeds 2000nm.
Core of the whole Alloy project, the owner’s suite has been designed like a large, private, 147 square metre flat. Three connected levels, outer and inner areas, previously unseen on an under 500gt yacht. it is laid on the main deck, in the yacht wide body area. Bedroom, walk in wardrobe, restroom and lobby are part of the 70 square metre sleeping area.
66 more square metres are laid on the upper deck, featuring study, and a wide prow for sunbathing, and relaxing in the pool. A true suite, with fully equipped balcony overlooking the sea, whose layout on three decks allows full privacy and isolation from other guests.
Stunning room shows up anywhere in the yacht, both inside (see the living area on the main deck, the relaxation area on the upper deck and four double cabins on the lower one) and, most of all, outside.
Let us quote the the sundeck, and its 83 square metres, equally good for sunbathing and open air lunches; the 102 square-metre beach club, with its own bar area; the gym, with folding aft platform and two more at both sides, allowing owner and guests to train “aau fil de l‘eau”.
“Compared with other Alloy units, this fourth one, named 137, shows further development thanks to the yard’s cooperation with French studio Liagre; they signed interior décor, for sure, but more than that they provided the added value of a new project interpretation, by consolidating such a fascinating architecture and giving it a new, stronger identity”.
Colour was another important aspect. The champagne tint combines with the tense, sporty lines of the boat, which gains a totally new, more elegant mood.
Alloy proves that exploring new ways and territories in the domain of living has not come to an end. It still has a chance, in boats as well as architecture, it can grow and explore new languages and opportunities. Because this is the first role of architecture, to provide the basis for a better life.”
As said, Alloy 137’s interiors were signed by the French architecture studio, founded in 1985 by Christian Liagre. The architect was born in La Rochelle, on the Atlantic coast, and gradually grew as a master in French minimalism. He passed away in 2020 after leaving the study in his pupil’s hands Frauke Meyer, who succeeded him in the studio artistic direction.
The project stems from the idea of creating a warm space to reflect the owner’s lifestyle and his sophisticated taste. And the aim was reached, by combining different aspects into one purpose. From the layout, that guarantees livability functionality and comfort everywhere on the ship, to any single details and the cure it received.
Working on space was, as said, the core of all interior design. And, as equally said, the owner’s suite is peak of the process. Its flexible layout was enhanced by eliminating neat separations, sliding panels being chosen instead of fixed walls to make the room layout less strict and more suitable to the owner’s needs.
The overall impression is that of a fluid space, both for visual aspect and functionality
“We faced this project like a true challenge: starting from the yacht structure, we carefully analyzed every single part to optimize functionality and gain new livable room for the owner”, says Frauke.
Coziness permeates the interior, guiding the owner through winding, wrapping spaces as to reflect the sea as a fluid. Rounded edges, door structures modelled around the human figure, everything emphasizes the idea of hospitality at its best.
The leading principle is clear right from the main deck living room, where every single elements, from the wooden ceiling to the furniture layout, unhinges geometry and dismantles the room’s statics while keeping the necessary sense of geometry for a relaxing atmosphere.
A photo of Shibata’s stands out as focal point in the room. It was chosen for its intense red shades, immediately catching the observer’s eye, and its triangular composition that introduces a new axle in the room, like a window on a different world.
On the owner’s request, décor is inspired by Asian style, while adding a touch of French. It was the studio’s intent to mix the two different cultures, by including Asian-looking details in the project and subsequently handle them in purely French style; in pure respect for the Country’s rooted culture in interior design.
An example for this, slightly shrinking doorways in the lower part, or the choice to integrate two glass cases for bonsai terrariums in the walls of the main deck living room.
The mixture is also clearly shown by the materials, elm and eucalyptus being skillfully brought together. The former, a light tinted wood, symbolizes French tradition, the latter, with its precious veins on smooth varnish to reflect the sea, is widely used in Asia.
The finest working techniques are used for the two woods, as shown by ceiling details on the main deck or the central staircase handrail, carved inside the curving wall out of a single piece of wood. They dominate all interior décor, symbols for an artistry that fully exalts their beauty.
The choice to only use two materials creates a sense of union, coherence, and relaxation. An underlying chromatic code privileges darker shades where night life prevails, like the cinema or karaoke room on the main deck, where onix in the bar is the only contrasting material, and lighter ones where daily activities take place
The studio created micro-stories, based on the fractal mathematical theory, to create rooms within rooms and thus render the impression of a much deeper space.
The owner’s suite is the perfect example for this. The double staircase connecting the three levels was flipped, compared to the initial layout, to make room for a separate vanity area on the lower level, and a desk for the owner’s study on the upper one.
The same concept is observed in the mezzanine level living room, where a stunning vault overhangs the couch and makes the most of this room, as if it were a separate one from the rest.
Poetics of space in the guests’ cabins is left to the reading or chatting niches flanking the double bed. Small yet comfortable spaces around your body, to create an unexpected place for relaxation, reading or chatting.
All furniture was designed by studio Liaigre, from the cushions to liven up the deck, to the shape of the couch in the cinema and karaoke areas on the upper deck, allowing crew members to move around, the swivel armchairs, and the external lamp in the aft dining area, upper deck.
For further information: Sanlorenzo
Text by Roberto Franzoni – Photos by Guillaume Plisson