February 12, 2014

Project: Sacs 22 Strider

Christian Grande, an award-winning yacht designer enriches his colloboration with Sacs Marine to launch the Strider 22 the mega-rib concept. The design of a new maxi-rib of distinctive features shows how much trends and tastes are constantly changing. Sacs Marine relied on Christian Grande’s drawing table for years, thus ending up with producing a new-generation rib, endowed with all the peculiarities of this type of vessel, such as un-sinkability, easiness of handling and mooring. The choices made by the designer for the new Strider 22 were, therefore, the desire to create a yacht with all these qualities and with a clear off limits vocation, evoked by the discovery look combined with tubular style. Its aesthetic features do not stop here: the size, remarkable for this type of boat, is further exploited through smart arrangements and distribution of space, embellished by selected materials and colors. The variable cross-section of the tubular and the reverse bow offer even more space, customization at will in accordance with the requirements of the owner. The bow area is well equipped, spacious and comfortable, with generous cushions that follow the outline, a central area with retractable sofas and table that can be covered with a retractable quadrangular awning. The accuracy of the design can be also deduced from two stern details such as the swimming platform and the stairs. The first can be sunk, while the latter can be lifted in order to give access to the hangar, in which the tender can be hauled by a specially designed servo platform. The total transparency of the upper deck is sought and obtained, below, through a clever structural design that made it possible to place a long window along the hull, a chisel-mark that characterizes and defines the hull itself, a molding which at the same time relieves and visually reinforces the whole. The design approach taken by Christian Grande gives the exterior strong aesthetic connotations, which are consistent and sinuous, but do not “betray” the typical style always evolving of the Parma-based designer; the whole is enriched by elusive lines, aggressive and zoomorphic shapes, just like the structural stringers that cut in half the glass top, making it visually more slender, or the side volumes that allocate the side air-intakes, a clear reference to feral muscles waiting to pounce on a prey, a further demonstration of the-closeness to nature of Christian Grande’s work, and to rather merge with it rather than stand out with shape and colors.

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