Westlawn

LEARN YACHT DESIGN

Westlawn's mission.

The Westlawn Institute of Marine Technology operates around one central goal:

Enabling our students and alumni to achieve their dreams of becoming successful yacht designers.

Westlawn Opens Doors

Over the years, Westlawn has produced more practicing small-craft designers than any other institution in the world.

Westlawn graduates have established careers throughout the marine industry, with leading builders and design firms. Many have launched their own independent design firms.

The Westlawn Diploma in Naval Architecture, Marine Engineering, and Yacht Design demonstrates the graduate’s mastery of concept and design skills. Equally important to prospective clients and employers, it offers proof of superior self-discipline and dedication, for a powerful competitive advantage in the global marine industry.

Many Westlawn graduates report that their portfolios of design projects from the Westlawn course have been a primary factor in securing employment with leading boatbuilders and design firms. Employers add that Westlawn students’ learning is practical, relevant and up-to-date, allowing them to begin contributing immediately as productive team members.

Many Westlawn students have completed their studies after being hired as designers in many industries.

Who Should Consider Westlawn

Recent high school graduates choose Westlawn as the next step in their education, leading directly to a yacht and boat design career.

College and university students earning degrees in naval architecture and marine engineering find that Westlawn provides skills in boat design not covered in university courses, as well as training in conceptualization and aesthetics.

Many Westlawn students have already established careers in other disciplines, and seek to change their professional direction. Others, already working as designers in the marine industry, select Westlawn as a path to professional development and career enhancement.

So if you have an interest in boats and a desire to flex your creative muscle in marine design, the Westlawn Institute of Marine Technology is for you.

A Westlawn Education Is Effective, Convenient, And Affordable

To help you achieve your professional dreams, we’ve made it easier than ever to complete your Westlawn education.

Your monthly student fee covers your student membership in the two professional organizations that will be very important to your career as a yacht designer: RINA, the Royal Institution of Naval Architects, and SNAME, the Society of Naval Architects and Marine Engineers. These two organizations provide you with periodicals and access to an enormous library of valuable reference materials.

Because tuition and enrollment fees include all text materials, software tools, assignment review and evaluation, testing, grading and consultation with faculty, the cost of a Westlawn education represents a superior value.

Practical, Project Based Learning

Our courses are online, and have always been based on “Project Based Learning” which is widely recognized as the most effective way to learn: As a Westlawn student you will learn knowledge and skills, and immediately apply your skills on practical yacht designs.

Project Based Learning enables you to internalize and retain the knowledge and skills, as you use the tools and processes used in professional yacht design firms.

Select Westlawn students also have the opportunity to collaborate on Superyacht designs at Art Center College of Design, in Pasadena California.

By the time you graduate, your portfolio of professional quality design work will include nine designs of yachts engineered in aluminum, fiberglass, and wood, both sail and power.

This realistic and practical education means you will have the confident ability to design yachts for clients upon graduation.

The Yacht Design and Naval Architecture Course

A comprehensive four-module professional education, the Westlawn Yacht Design & Naval Architecture course enables you to master the principles of yacht design using industry standard tools, including Rhino3d and AutoCAD.

During this course, you will prepare plans, computations, specifications and all the details for nine different boat designs. You will design both powerboats and sailboats. You will follow the practices of successful yacht design firms.

Your nine different designs will be critiqued by the Westlawn faculty of professional yacht designers, and will provide you with a portfolio of your own designs to help you start your career.

Module 1: Principles of Yacht Design

Introduction to design process; Fundamentals of statics and dynamics and their influence on design.

Module 2: Aesthetics and Layouts

Elements of exterior and interior design of powerboats, monohull sailboats and multihulls, using Rhino and Autodesk tools such as AutoCAD.

Module 3: Construction Methods

A detailed study of manufacturing technologies, materials and processes for wood, fiberglass and aluminum production.

Module 4: Systems and Equipment

Design considerations and issues relating to engine installations, propulsion, electrical, navigation, plumbing, fuel and environmental systems.

When you satisfactorily complete all four modules, you will graduate and be awarded the Diploma in Yacht Design, Naval Architecture, and Marine Engineering.

Admission Requirements

The Yacht Design & Naval Architecture course is a comprehensive and rigorous course. You should be prepared and mature enough for a college education. There are no specific prerequisites, other than self motivation and discipline.

You need a Mac or PC with internet access and email to enroll and to do the coursework.

Work at your own pace

You may start the Westlawn course at any time.

The entire Yacht Design & Naval Architecture course requires about 3,200 hours of study and assignment preparation, or about 1 to 3 hours a day to complete the course in 4 years.

Westlawn is a work-at-your-own-pace school. Some complete in as little as two years, others may take a decade. It is common for our students to obtain gainful employment as designers of yachts, cars, airplanes, products, and interiors early in their education at Westlawn.

Tuition and Fees

$4600 per module for tuition, and $100 enrollment fee per month. Therefore, the total 4 module course will cost about $23,200 if completed in 4 years.

Everything is Included

Your tuition and enrollment fees includes all books and full versions of all software from Autodesk, including AutoCAD, Alias, Maya, Inventor. Deep discounts on Rhino and Orca3d are also available to our students.

Making waves for 90 years

Since 1930, Westlawn has set the standard for yacht design education. Over the years, our alumni continue to lead the marine industry in setting the tone for style throughout the industry, including sailing and power yachts and commercial vessels.

For example, alumnus Jack Hargrave gave us the now pervasive style of sport fishing boats with long fordecks and wide and low cockpits.

Alumni Andrej Justin, Tom Fexas, Bruce King, Gerry Douglas, Roger Martin, Dudley Dix, John Swarbrick, Doug Zurn, Rod Johnstone, and many others have designed large numbers of beautiful and influencial custom and production yachts including many America’s Cup racers.

Eos, the 320’ three masted schooner built by Lurssen, was designed by Westlawn graduate and Senior Partner of Langan Design, Antonio Ferrer.

Recent graduates include Adam Voorhees, Superyacht design award winner, and Adriana Monk, a Chief Designer for Wally Yachts of Monaco.

What Alumni Have to Say about Westlawn

It was a wonderful day for me personally to be able to present a second diploma to a Westlawn graduate since taking over the Hargrave company. I want to thank Westlawn for making all this possible not only for Greg Boyko, but for the entire Hargrave family. We take great pride in our company’s long history with Westlawn, and the list of honored recipients to receive a Westlawn diploma who not only played an important role in our company, but in the yachting industry overall is impressive indeed. Keep up the great work!
. . . I am currently a NAMS surveyor in Annapolis and have had my own successful business for over 16 years. I have been employed by two yacht yards and the US Navy. I spent three years on the drawing board primarily working for the Navy but doing some independent smaller design projects. In the last 20 years I have traveled to 40 countries surveying all manner of vessels from ocean going tugs and floating dry docks to yachts and high speed patrol boats. Many thanks for helping me establish a rewarding and wonderful career.
I am a Westlawn grad who has worked in the industry for over 17 years and am now presently holding the position of Sr. Development Engineer at Pursuit Boats (a division of S2 Yachts, Inc.). I have had several colleagues of mine inquire about the Westlawn program and I am always eager to provide a wonderful appraisal of my studies at Westlawn. It was exciting when ABYC decided to adopt the course and I was also pleased to hear that Norman Nudelman was once again part of the faculty. Keep up the good work and good luck with your future endeavors.
For those of us whose school notebooks were embroidered with boat sketches, the practice of yacht design is just being paid for doing what we like best. Training, such as the Westlawn course, is essential to make this possible. It did this for me.
If you are the kind of person that seeks rewards beyond the monetary boundaries, there is nothing so gratifying as seeing your design take shape and finally sail away. The Westlawn School of Yacht Design course can extract those talents from our creative genes.
I recommend Westlawn to anyone desiring to become a yacht designer or commercial boat designer.
. . . the quality of its graduates, including Bruce King, Bill Shaw, and Ted Brewer remains a constant.

Westlawn is a 501(c)3 non-profit public charity. Therefore, all revenues and funds are used only for the education of Westlawn students. Over the past 90 years, Westlawn has educated thousands of practicing yacht designers. Westlawn provides students with all books and software tools required to complete the course.

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The History of the Westlawn Institute of Marine Technology

  • By Jay Coyle
  • Updated: April 20, 2011

Westlawn Institute of Marine Technology

Westlawn Institute of Marine Technology celebrated its 80th anniversary recently, and yachting enthusiasts of all stripes owe the design school a tip of the hat. If you are a boat owner, there’s a good chance that a Westlawn graduate had something to do with your boat’s design. The list of alumni reads like a who’s who of yacht design. Graduates of this home study course have played a major role in shaping the sport, and some very dedicated designers have played an important role in shaping Westlawn.

Boat designers Gerald Taylor White and E.S. Nelson dreamed of a correspondence school that could serve those who shared their passion for small-craft design. They founded Westlawn in 1930, naming it after White’s Montville, New Jersey, farm. At the time, the U.S. population of recreational boating enthusiasts was estimated at 1.5 million and growing. Inspired by Henry Ford, boatbuilders had begun standardizing production, so the creation of a school to standardize design practices and train designers was timely. By 1968 the population of recreational boaters had surged to 8.4 million, and hundreds of Westlawn graduates and enlightened students were serving the industry.

While there are many outstanding examples of students who made good, 80-year-old Dave Martin’s 55-year career as a yacht designer is one of the more compelling. Growing up on the Jersey shore in Atlantic City, Martin loved boats and managed to land a job on the planking crew at the Egg Harbor Boat Co. fresh out of high school. “I walked my dog back and forth in front of Russell Post’s [a company partner in Egg Harbor] house until I cornered him one morning and begged him for a job,” Martin said. Martin arrived for work and was given a broom, but he eventually wound up on the planking crew. “A fella called Peckerhead Armour was in charge, and I figured I should know at least as much as Peckerhead did about boat design and construction,” Martin said. After seeing ads for Westlawn in the back of Yachting he signed up for the course in June 1948.

Martin moved from Egg Harbor to Pacemaker Yachts and then quit work to devote all his effort to completing his Westlawn studies. “I locked myself in my bedroom and worked full time until I ran out of money,” Martin said. With half the course under his belt, Martin felt confident enough to apply for a job at Sparkman & Stephens in New York. “I was interviewed by a human resources guy retired from the phone company — he didn’t know a damn thing about boat design,” Martin said. “Things got a bit loud and Gil Wyland [S&S’s chief engineer] came out of his office to see what was going on.” Wyland looked at Martin’s work and hired him as an ink tracer. “I was working at Sparkman & Stephens and my old boss was driving boats — Capt. Peckerhead,” Martin said with a chuckle.

After replenishing his bank account, Martin took a leave of absence and completed Westlawn in March 1953. He returned to Sparkman & Stephens as a draftsman and began moonlighting on the side — a practice Olin Stephens frowned on, Martin admits. “Several of my peers managed to design an oil tanker on the side, and Olin was pretty sore — I was only working on a 30-footer!” Martin was paid $750 for the design, and he quickly calculated that given 10 commissions a year he could make more money as a designer than as a draftsman. Martin returned to South Jersey and hung up his shingle. “I figured it was far enough away from S&S that I wouldn’t be tempted to give up and go back,” he said, laughing. Over the last five decades Martin has built an impressive portfolio of custom designs, both power and sail, and penned production designs for Egg Harbor, Pacemaker, Ocean Yachts and others. Martin’s secret to success is a love for his work and boating. He’s still designing boats and enjoys sailing aboard a 28-foot catboat he designed in 1980.

Over the years Westlawn has persistently tweaked its program in an effort to keep pace with new technology. The school was purchased by the National Association of Engine and Boat Manufacturers (NAEBM) in 1968 and led by designer Jules Fleder. At the time the school taught only design in wood. Designer and alum Bruce King had to get special permission to do a fiberglass vessel for his final exam. Textbooks on fiberglass and aluminum construction were added to the syllabus, and the course went through a major upgrade under the leadership of alum Norman Nudelman. A textbook on multihull design written by alumnus Bob Harris was added, as was a new volume on sailboat design by alum John Ammerman and Halsey Herreshoff.

Westlawn is now owned by the American Boat & Yacht Council (ABYC) and is headquartered at The Boat School in Eastport, Maine. Alum Dave Gerr is currently at the helm. Gerr finished Westlawn while serving as a naval architect at MacLear & Harris. He established his own firm in 1983 and has penned a number of books and a broad portfolio of designs. Under Gerr’s leadership Westlawn has been further refined with the addition of a technical reference manual written by Gerr and a text on yacht interiors by Lisa Hix. Gerr said the Internet has enhanced the program as well. “Thanks to the virtual office the Web allows, we have been able to assemble a great team of instructors and advisors,” Gerr said. “On the other end, students typically have more immediate access.”

Westlawn’s full program, Yacht and Boat Design, includes four modules: introduction to small-craft design, intermediate boat and yacht design, construction methods and systems, and equipment. Study materials include 34 textbooks that cover a wide range of subjects including hydrostatics, stability, performance, hull forms (power and sail), systems and construction methods. To graduate, students pass 38 lessons including a final thesis with two complete boat designs. A condensed version of the program, Elements of Technical Boat Design, was developed specifically for captains, surveyors, marine writers and others who need or want a basic working knowledge of boat design. Should those who complete the basic course want to pursue the full program, they receive credit for their studies and investment.

Westlawn serves both those interested in yacht design and those who want to focus on commercial small-craft design. There are few accredited schools that offer programs in either. Students have 12 months to complete a module and can make arrangements for extra time if necessary. Lessons that are not graded 75 percent or above are returned marked “preliminary,” and students can resubmit them until they pass. Westlawn averages about 28 graduates annually, and it typically takes a student four to five years to complete the full course. While 80 percent of those who start it never finish, Gerr points out that this number is misleading. “Many students get far enough along to find a job or design a boat and simply never bother finishing.”

Like Dave Martin, I was drawn to Westlawn by an ad in Yachting and managed to graduate in 1980. Since I had drooled over Martin’s book Naval Architect’s Notebook , he was on my short list when I circulated my resume. Like Martin, I too had suffered humiliation at Sparkman & Stephens when, during my interview, it was discovered I was more a stinkpotter than a windblown Corinthian. I found a warmer reception elsewhere, and I still have Martin’s kind letter of encouragement. Although he had no openings at the time, Westlawn alums Jack Hargrave and Tom Fexas did. I signed on with Fexas for five years before hanging up my own shingle in 1986.

I owe Westlawn a tip of the hat for teaching me how to make a buck doing what I love — and Martin feels the same way. “I knew Jerry White personally, and he really cared about helping young folks,” Martin said. “He not only taught them boat design, he taught them how to get a job! That’s something they don’t teach in college.” Happy anniversary!

Westlawn Institute of Marine Technology, 207-853-6600; www.westlawn.edu

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Passionate About Yachting? Learn How You Can Design Your Own Yacht!

You already love the freedom that sailing affords you, but have you ever considered sailing on a yacht you designed yourself? Designing your own yacht is more achievable than you may know and we'd like to introduce a distance learning school, The Westlawn Institute of Marine Technology. This school allows people with a passion for boats to turn their dreams of sailing on a vessel they designed themselves into a reality.

westlawn yacht design

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2007 Westlawn/ Island Packet Yachts Design Competition: Finalists

  • By Jeremy McGeary
  • Updated: July 16, 2007

westlawn yacht design

DesignContestReviewsSt

Winner Richard Boult’s Quick Clinker 31

Richard Boult added some specific requirements to define both his design and the parameters by which it would be judged. Boult restricted his ambitions to “coastal and estuary cruising, with the capability for short ocean passages, 500 to 600 nautical miles maximum,” and he further specified that to enhance safety, the boat should have a limit of positive stability (LPS) of at least 140 degrees and two watertight bulkheads.

From its simplicity of outfit and philosophy, it could easily have appeared in a design competition of the 1980s, but it’s thoroughly modern in terms of its hull shape, rig, and blend of construction materials. It reflects both the progression yacht design has followed over the last two decades and the parallel advances in computer-aided-design technology that can help simplify the construction process. Boult has defined the hull contours, not by conventional waterlines, buttock lines, and diagonals, but by lapstrakes geometrically developed in a CAD program (lapstrake and clinker-built effectively describe the same process). It’s harder to interpret the hull shape from the drawing, but the technique enables it to be assembled essentially from a kit of pieces computer-numerically-cut (CNC) from plywood panels.

Wood may not appeal to everyone. Bruce King pointed out that Boult’s hull, constructed by his Quick Clinker technique, would lend itself to being splashed for a one-piece mold, so that the design could be built in fiberglass. “It seems to me somewhat like the ‘folk boat’ for the 21st century,” wrote King. “I was impressed with the designer’s knowledge, his mention of the adverse effect of stern width on sailboat balance, and his adherence to that knowledge in the execution of the design.” Boult gave up some volume in the quarters to ensure that the boat has good manners under sail. “Consideration was given to the width and shape of the transom to try to ensure that the vessel’s heeled waterlines remain balanced such that it doesn’t become difficult to steer or the mainsail requires trimming,” Boult wrote.

The Quick Clinker 31 isn’t luxurious by present-day standards, but it should certainly provide comfortable enough accommodations to match the sailing-as-an-outdoors-activity theme of the design. Says Dave Gerr: “Richard Boult’s Quick Clinker 31 wasn’t only beautifully presented but also promised simple, enjoyable sailing in a boat of modest cost-a boat you could cruise on with few more complexities than a daysailer.”

Quick Clinker 31 Specs

LOA 31′ 3″ (9.52 m.) LWL 30′ 1″ (9.16 m.) Beam 10′ 3″ (3.12 m.) Draft 5′ 7″ (3.12 m.) Sail Area (100%) 495 sq. ft. (50 sq. m.) Ballast 3,771 lb. (1,710 kg.) Displacement (half load) 9,351 lb. (4,241 kg.) Ballast/D (half load) .40 D/L 153 SA/D 17.84 Water 34 gal. (130 l.) Fuel 22 gal. (84 l.) Mast Height 47′ 3″ (14.4 m.) Engine 18-hp. Volvo D1-20 with saildrive www.quickclinker.com.au

First Runner-Up Keimpe Reitsma’s Cruising Sailyacht 57 feet

Keimpe Reitsma set as his goal a vessel for serious offshore cruising that would be suitable for sailing long distances and able to accommodate its crew living aboard for long periods of time in different climates. That crew would typically be a couple, with or without children, and they could work from the boat in space set aside to be fitted out as an office.

The Westlawn Group found it to be a “beautiful, attractive, practical boat,” and “very businesslike and seaworthy.”

“I like the relatively narrow hull by today’s standards,” wrote Bruce King, a sentiment I shared. Bob Johnson rated it in his top three despite its being “too big for a couple to handle” and “potentially too expensive,” while Johnstone had reservations: “This is a beautiful boat that could be a great passagemaker, but I’m not sure I’d like the ride.”

Reitsma incorporated many features into his 57-footer that would appeal to passagemakers: a sunken cuddy forward of the cockpit, a storage cabin, the headstay set aft of the bow and clear of the anchors, a garage aft for the dinghy. With a little more development, this boat would be a serious head turner in cruising anchorages the world over.

Cruising Sailyacht 57 feet Specs

LOA 56′ 10″ (17.31 m.) LWL 53′ 6″ (16.31 m.) Beam 14′ 8″ (4.48 m.) Draft 9′ 0″ ( m.) Sail Area (100%) 1,368 sq. ft. (127.1 sq. m.) Ballast 14,800 lb. (6,712 kg.) Displacement 37,700 lb. (17,098 kg.) Ballast/D .39 D/L 110 SA/D 19.47 Water 190 gal. (720 l.) Fuel 150 gal. (569 l.) Mast Height 75′ 1″ (23.1 m.) Engine 100-hp. Yanmar 4JH3-hte diesel

Second Runner-Up Paulo Bisol’s Deep Blue 48

“You know how big the boat is and where it wants to go,” Bisol wrote in his concept statement, referring to the title he gave this design, and many of the features that he’s included speak to that sentiment.

“I like the concept-narrow, easily driven, short rig, shallow draft,” commented Rod Johnstone. Bob Johnson liked it for its “reasonable size,” adding that Bisol presented “practical features [and] original thought.”

“Nice attractive profile, good presentation,” wrote the Westlawn Group, agreeing with Bruce King’s “nicely proportioned design with pleasant relationships between the visual masses.”

They also agreed, however, that the engine installation was tight, and this proved the thin end of a wedge of inconsistencies that undermined its otherwise well-reasoned specification, which included both a control station modeled after those seen in Open-class racing yachts and several watertight compartments.

Both Johnstone and I remarked that it would be tender, and I remain doubtful that “light displacement” and “round-the-world sailing for a family” are compatible statements, but the basic design has considerable merit and is well worth exploring.

Deep Blue 48 Specs

LOA 47′ 1″ (14.35 m.) LWL 44′ 4″ (13.50 m.) Beam 12′ 4″ (3.76 m.) Draft 5′ 10″ (1.78 m.) Sail Area (100%) 926 sq. ft. (86.0 sq. m.) Ballast 6,020 lb. (2,730 kg.) Displacement 20,286 lb. (9,200 kg.) Ballast/D .30 D/L 104 SA/D 19.9 Water 185 gal. (700 l.) Fuel 122 gal. (460 l.) Mast Height 58′ 5″ (17.8 m.) Engine 67-hp. Perkins-Sabre M65 diesel

Fourth Place Robert Buck: 52-foot Yawl Abigail

Robert Buck, of Swampscott, Massachusetts, drew a yawl with a traditional profile to match its period rig. The yacht is for an experienced couple in their mid-fifties to cruise the northeast North American coast with occasional forays to the Caribbean. Lines that look seakindly and a heavy ballast package mounted low would give her an easy motion, the accommodations are practical and comfortable, and the designer has given due thought to the essential functions of sail handling, docking, and anchoring.

I felt that this designer met his clearly defined mission statement in most respects, including the desired look and feel. Rod Johnstone concurred: “Abigail has a beautiful, traditional profile.” Bruce King, who’s made a specialty of “retro” designs and understands the subtleties of making them right, wrote, “With a little tweaking, this could be a very beautiful design.”

Bob Johnson considered it “too retro” and was troubled by the deep (8-foot) draft, and the Westlawn Group (Gerr, Nudelman, and Wentz), while impressed by the overall design and its presentation, felt it suffered because, “It’s been done before.”

Obviously, the panel was divided on the benefits of matching a more traditional appearance above the waterline with a modern underbody, but all acknowledged that Robert Buck’s presentation was clear and professional. Some panel members noted that the low displacement specified was optimistic for a yacht of this type and, despite the boat’s size, the engine was tightly confined. Still, with some modest adjustments and with careful monitoring during construction to control weight accumulation, this yacht could make the transition from a nice-looking design to a cruising boat that’s both a pleasure to sail and to behold.

52-Foot Yawl Abigail Specs

LOA 51′ 10″ (15.81 m.) LWL 41′ 8″ (12.70 m.) Beam 12′ 0″ (3.67 m.) Draft 8′ 0″ (2.44 m.) Mast Height 70′ 6″ (21.5 m.) Sail Area (100% Fore + 50% Miz) 1,271sq. ft. (118.1 sq. m.) Disp. 31,000 lb. (14,059 kg.) Ballast 14,260 lb. (6,467 kg.) Ballast/Disp .46 Disp./L 191 SA/Disp. 20.6 Water Not specified Fuel Not specified Engine Not specified Designer Robert W. Buck

Fifth Place D.M. Frolich: Offshore 65

Doug Frolich, of Larkspur, California went to the max, pushing the top end of what two people can be expected to handle. The Westlawn Group sum it up with their description of the design as a “very attractive contemporary cutter” and go on to praise the belowdecks arrangement and the number and distribution of storage bins for deck equipment. A battery of 8 winches, some of them hydraulically powered, serve the sail controls, most of which lead to the center cockpit. A large doghouse foward of the cockpit offers shelter and seating for six people and forms a vestibule protecting the entry into the saloon.

Frolich also designed a handsome 17-foot nesting sailing dinghy to go with the yacht. Compacted to 9 feet, this stows under the aft deck in a vast garage which is separated from the boat’s interior by a watertight bulkhead. A door comprising most of the transom doubles as a swim and boarding platform.

The hull is relatively slender by current standards, which normally would promote good manners under sail. However, maximun beam is two thirds aft from the bow, which raised questions about the potential for handling problems in gusty conditions. “The hull is a little too asymmetric for great steering characteristics,” wrote King. “This asymmetry combined with the very short keel will likely make this design tend to round up in the puffs.” Johnstone echoed these thoughts and also expressed doubt about the design meeting its specified displacement and vertical center of gravity.

Johnson thought the boat attractive and luxurious but was troubled by its size. He wondered if it wasn’t too big for a couple, and perhaps too expensive. I felt that the designer underestimated the physics of a boat this size, but the plans were well presented and offer great potential.

65-foot Offshore Cruiser Specs

LOA 65′ 0″ (19.81 m.) LWL 59′ 0″ (17.98 m.) Beam 17′ 0″ (5.18 m.) Draft 7′ 7″ (2.31 m.) Mast Height 87′ 3″ (26.6 m.) Sail Area (100%) 1,948 sq. ft. (181.0 sq. m.) Disp. (half load) 60,000lb. (27,210 kg.) Ballast 21,000 lb. (9,524 kg.) Ballast/Disp .35 Disp./L 130 SA/Disp. 20.3 Water 600 gal. (2,274 l.) Fuel 150 gal. (569 l.) Engine Yanmar 151-hp diesel Designer Doug M. Frolich

Sixth Place Johan Strydom: Ultra Low Budget Optimum World Cruiser (ULBOWC)

A generation or so ago, many of Strydom’s fellow countrymen left South Africa in boats built to a similar theme-inexpensive but seaworthy enough to escape across the South Atlantic from that country’s conflicted culture.

In many ways, Strydom’s junk-rigged cat ketch, despite being rather crudely hand drawn, meets his objective. “A narrow, easily driven hull requiring minimal drive from a compact sail plan makes a lot of sense in terms of efficiency, ease of construction, and sea-keeping qualities,” wrote Johnstone. The Westlawn Group concurred: “If the intention for this unusual junk-rig design was absolute lowest cost, the intention was well met.”

With its double-chine construction employing simply curved flat panels, and minimalist accommodations, at first glance this design appears to meet the simplicity goal. However, Strydom suffers from a compulsion to over engineer simple systems. Instead of using plywood as the base layer for the hull, he builds his flat panels from planks, bends them in place over forms, and then laminates two more layers at 45 degrees. He has also designed wrap-around sails, which the Westlawn Group commented were no improvement over traditional junk sails while being heavier and more expensive.

“Where absolute lowest cost is wished,” King wrote, “I believe there are better approaches. Hull design and construction is generally not a great place to attempt to cut costs. Even the most complicated, difficult to build, ‘curse-the-designer’ hull is seldom more than 20 percent of the completed boat cost.”

At its core, the ULBOWC, offers alternatives to today’s conventional answers to cruising’s perennial questions, and the panel gave it credit for that. If the designer could step back, look at his original concept, and reassess his approach to realizing it, he would meet his own mission statement much more effectively.

ULBOWC Specs

LOD 37′ 1″ (11.30 m.) LWL 34′ 6″ (10.52 m.) Beam 10′ 0″ (3.05 m.) Draft 4′ 0″ (1.22 m.) Mast Height 37′ 3″ (11.4 m.) Sail Area (100%) 714 sq. ft. (66.3 sq. m.) Disp.(Loaded) 17,200lb. (7,800 kg.) Ballast 7,056lb. (3,200 kg.) Ballast/Disp .41 Disp./L 187 SA/Disp. 17.1 Water Not specified Fuel Not specified Engine Electric motor driving “dolphin drive” Designer H.J. Strydom

Seventh Place Eric Sponberg: 45-foot Cat Ketch Eagle

Eric Sponberg, of St. Augustine, Florida, had the panel in many minds with his utterly professional presentation of this design, which drew attention for its nonconformity but lost it when closer study revealed its impracticalities. As far as the boat’s general arrangement goes, Sponberg has homed in on the retiring boomer taste, providing a big galley and a sheltered steering station. Eagle would make a comfortable platform for cruising the Snowbird route on the Atlantic coast. However, it was the “transoceanic voyages” in the designer’s mission statement that caused most of the hesitancy on the part of the panel, because the boat appears vulnerable in several ways.

While the unstayed cat ketch has a proven record, Sponberg’s rotating wing masts and attached “half wishbones” add a level of complexity that, coupled with the windage issues they raise in heavy conditions both offshore and at anchor, is probably above the comfort level of most cruisers. A simpler, proven arrangement, detailed with the same care seen in other elements of the design, would have found better favor with the panel.

Bob Johnson thought that the boat’s size was good, and called the design “creative and practical,” adding “The rig is a mixed bag.” Johnstone didn’t like the prospect of being caught in a big sea on this boat.

As to the overall impression, Bruce King said simply, “This design is quite far from connecting with my values, both functionally and visually.”

45-foot Cat Ketch Eagle Specs

LOA 45′ 0″ (13.72 m.) LWL 41′ 0″ (12.50 m.) Beam 14′ 0″ (4.27 m.) Draft 6′ 4″ (1.93 m.) Mast Height 58′ 6″ (17.8 m.) Sail Area (100%) 1,293 sq. ft. (120.1 sq. m.) Disp. 32,266 lb. (14,633 kg.) Ballast 12,000 lb. (5,442 kg.) Ballast/Disp .37 Disp./L 209 SA/Disp. 20.4 Water 100 gal. (379 l.) Fuel 90 gal. (341 l.) Engine Yanmar 54 hp diesel with sail drive Designer Eric W. Sponberg

Eighth Place Michael Hartline: 42-foot Cruising Sloop

Michael Hartline of Laureldale, New Jersey, submitted a rather ordinary looking design that drew admiration from across the board for its clear, detailed drawings but offered little inspiration in terms of new ideas. Bruce King was brief in his summary, speaking for most of the panel: “Well done design with nice presentation. Well shaped hull with nicely balanced ends.”

In profile, the hull shows many features common to designs that appeared in early editions of Cruising World: “Everything about the boat is a bit 1970s-ish,” wrote Johnstone, and that includes the high aspect ratio mainsail with partial battens and the shape of the underwater sections. “I don’t like flat bottoms on offshore cruising boats,” he added, “but I like a lot of the features, including the large amount of volume below.”

Hartline has used that volume to create a spacious saloon that encompasses the galley, dining lounge, and nav desk in a convivial grouping, but it forgoes a convenient sea berth in favor of a curved settee.

I wrote, perhaps harshly, “Nothing inspirational here-a concise mission statement executed with little passion.” If Hartline had set himself a less general target he would have forced his imagination to reach out for solutions. As we’ve seen in some of the other designs that the panel rated more favorably, in a design competition we’re looking for new ideas, or at least old ideas in new settings. In that respect, and perhaps in that respect only, this design misses the mark. In the words of the Westlawn Group, “Everything works and is well thought out, but it’s not unusual or exceptional. An average boat.”

42-foot Cruising Sloop Specs

LOA 41′ 10″ (12.74 m.) LWL 35′ 10″ (10.92 m.) Beam 13′ 7″ (4.14 m.) Draft 6′ 3″ (1.90 m.) Mast Height 64′ 6″ (19.7 m.) Sail Area (100%) 923 sq. ft. (85.7 sq. m.) Disp. 24,962 lb. (11,323 kg.) Ballast 9,700 lb. (4,400 kg.) Ballast/Disp .39 Disp./L 242 SA/Disp. 17.3 Water 128 gal. (485 l.) Fuel 103 gal. (390 l.) Engine Yanmar 55 hp Diesel Designer Michael Hartline

Ninth Place Mark Bowdidge: Oceansky 57, Ocean Racing/Cruising Catamaran

Mark Bowdidge, from Queensland, Australia certainly boosted the panel’s adrenalin with this elegant and beautifully presented catamaran, the only multihull to make the Top Ten. Its mission, Bowdidge states, is to combine the comfort and safety of a cruising yacht with the potential to take line honors in major races.

“I find this design the most exciting of the group,” wrote King. “It exudes speed and efficiency. The smaller visual mass of the central pod compared to the more usual massive cabin structure of mainstream cruising catamarans is a real aesthetic plus.”

Johnstone, too, was enthusiastic, writing “If I were going long-distance cruising on a catamaran, the Oceansky is as good as any I have seen afloat.”

There’s no question the boat would be fast, but that speed comes with the cost of the high-tech construction materials and methods needed to achieve the target weight and with a significant sacrifice in cruising amenities.

“Its compact central area clearly anticipates the safety concerns of traveling at high speed in large seas,” Johnstone commented. However that central pod accommodates two watches of two in minimal comfort and little privacy, tight quarters in 57 feet.

In the end, it was the high cost and size-“Too big, too expensive,” wrote Johnson-as well as the emphasis on performance that troubled the panel, with the exception of Johnstone. The Westlawn Group considered it “Really too racing oriented to be a real cruiser.” Overall, the view was that while this boat would be exciting to race in the hands of the right crew, it would be stressful to cruise.

Oceansky 57 Specs

LOA 57′ 4″ (17.47 m.) LWL 52′ 8″ (16.05 m.) Beam 34′ 6″ 10.52( m.) Draft (Boards up/down) 1′ 6″/10′ 2″ (.46/3.10 m.) Mast Height 79′ 3″ (24.7m.) Sail Area (100%) 1,505 sq. ft. (139.8 sq. m.) Disp. 16,440 lb. (7,456 kg.) Ballast None SA/Disp. 37.2 Water 136 gal. (515 l.) Fuel Not specified Engine Not specified Designer Mark Bowdidge

Tenth Place Thomas D. Egan: Egan – 49

Thomas Egan, of Marblehead, Massachusetts, explored the possibilities for fast cruising offered by a design derived from the Open Class world-girdling racing yachts. The shallow, skimming-dish hull form follows the type closely and the interior verges on Spartan to keep its weight in keeping with the concept. Egan provided 3-D graphic representations of some of the more radical features, such as the canting keel that’s cushioned to absorb grounding impacts and the dinghy stowage under the aft deck, but didn’t back them up with working drawings or even basic design data.

“Crucial descriptions of this design are lacking,” wrote Johnstone. “Having no stability calculations, construction details, or weight study make this design seem somewhat unbelievable and unexecutable at anything but extremely high cost.”

Panel members also questioned Egan’s assertion that this design would create, as he describes in his outline, “a seaworthy and comfortable cruising boat for an active early-retirement couple . . . to complete a circumnavigation using warm-climate routes.”

“I believe this would be an exciting boat to sail, especially for the few individuals with the right stuff,” wrote King, “but [it would] require a level of knowledge, expertise, and vigilance beyond that of most sailors.” Fundamentally, Egan presented a design concept from which no boat could be built without a great amount of expansion and elaborate engineering calculations. Even then, the end product would harbor too many vulnerable systems to be reliable in remote cruising grounds. Johnson rated it highly on some aspects, particularly its size and the manageability of the rig, but his brief assessment summed it up for the panel as a whole: “Bold concept, [but] complex and probably too extreme for most.”

Egan – 49 Specs

LOA 49′ 11″ (15.21 m.) LWL 49′ 0″ (14.93 m.) Beam 14′ 4″ (4.37 m.) Draft 10′ 6″ (3.20 m.) Sail Area (100%) 1,130 sq. ft. (105.0 sq. m.) Disp. 23,000 lb. (10,431 kg.) Ballast 8,000 lb. (3,628 kg.) Ballast/Disp .35 Disp./L 87.3 SA/Disp. 22.4 Water 70 gal. (265 l.) Fuel 70 gal. (265 l.) Engine 70 hp diesel Designer Thomas D. Egan

To view renderings of all 10 finalists, click here .

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6 of the best yacht design courses to kick-start your career

Yacht design and production beng.

Although many of the world’s top superyacht designers had no formal training, taking a yacht design course can be a great way to kick-start your career and make vital industry connections. We round up five of the best.

Southampton Solent University’s Yacht Design and Production Course has an international reputation and for good reason, as it features guest lectures from BMT Nigel Gee and work experience placements at Sunseeker International . Students on this three-year course study the engineering science behind great yacht design as well as the fundamental principles of naval architecture. A foundation year is available, as well as opportunities to study abroad. Notable successes include the class of 2014, who built the foiling catamaran Solent Whisper (pictured above).

Yacht Design Diploma

Based in the American town of Arundel, Maine, the Landing School offers a wide range of courses in marine technology. Its Yacht Design Diploma boasts a 100% employment rate for former students and bursaries are available via the Women in the Marine Industry scholarship. Alumni have gone on to work for the America’s Cup team Artemis Racing (pictured above).

Yacht Design 1st Level Masters

Offered as a postgraduate course, the Yacht Design 1st Level Masters at Milan’s ISAD design school is intended for students who have a degree in architecture, engineering or design. Taught in both English and Italian, this one-year course culminates in an industry placement, and guest speakers include  Mario Pedol  (who designed the 180 metre  Azzam  — pictured), and  Andrea Vallicelli .

Yacht and Boat Design Diploma

The Westlawn Institute has been teaching yacht design for more than 80 years, and currently offers an online distance-learning programme. The Yacht and Boat Design course is taught by tutors based in the USA and Australia, and is accredited by the Royal Institute of Naval Architects in London. This one-year diploma features modules on construction, engineering and CAD. Famous alumni include Douglas Zurn , Tom Fexas and Geoffrey Van Aller , who is responsible for the design of many of the top 50 largest US-built yachts , such as the 73 metre Cocoa Bean (pictured above).

Automotive and Transport Design MDes/BA

A slightly left field option perhaps, but automotive design is one of the key fields that influences yacht design . This three to four-year undergraduate course at Coventry University is held in particularly high regard for its strong industry connections. Former students who have gone on to make a name for themselves in the superyacht world include Jonny Horsfield (whose H2 Yacht Design studio created the exteriors for the 123 metre Project Jupiter  — pictured above), and Steve Gresham.

Naval Architecture and Marine Engineering MEng

In recent years, there has been a trend towards students using naval architecture courses as a route into yacht design, as James Roy from BMT Nigel Gee explains: "It used to be that if you attended a traditional naval architecture degree then you would spend most of your time learning things about big merchant ships, but that is not the case anymore.

"Most university degrees are now geared to provide modular approaches, and the naval architecture and engineering of smaller and specialist vessels, such as yachts, are included."

This four-year course at the University of Strathclyde in Glasgow is a case in point — providing a broad basis for understanding how a wide variety of vessels work, from luxury yachts to commercial ships. The faculty also owns a 10 metre sailing yacht called Catalina (pictured above), which students can hire for as little as £30 per day.

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Dudley Dix is a Westlawn graduate and has been designing professionally since 1980. He won the Cruising World Design Competition in 1979 with the CW975 before going professional. His SHEARWATER 45 was selected as Traditional Voyager of the Year and overall Boat of the Year 2011 at the Annapolis Sailboat Show. His Paper Jet was awarded the Outstanding Innovation Award at the 2007 Wooden Boat Show in Mystic CT and a Special Award at the 2009 Georgetown Wooden Boat Show in South Carolina. He has built three large offshore yachts of his own and many smaller ones. He has sailed trans-Atlantic 4 times on boats of his own design. He moved his family and business to Virginia Beach (USA) in 2004. Dudley Dix has published many articles and one book, “Shaped by Wind & Wave”, primarily about boat design. He is currently working on another two boating books, when time permits. He has been a speaker at IBEX and various other boating conventions.

10 Sailboats designed by Dudley Dix

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Westlawn Shool of Yacht Design

Discussion in ' Education ' started by michal , Jan 27, 2002 .

michal

michal Junior Member

I seriously thing about studying in Westlawn. Every private opinions about this course (alumni? students?) have great importance for me. Thank You.... Michal  

Jeff

Jeff Moderator

I believe there are a couple people visiting the forums who have graduated from the Westlawn program, so hopefully they will reply to this post or send you a private message or an email. You might also find this site interesting which displays some student projects done for the Westlawn courses: http://homepages.ihug.co.nz/~jomeder/gallery/galleryframes/galindex.html Also here are two Westlawn students' websites for you to browse or contact them: http://members.tripod.com/~jcnyd/ http://members.iquest.net/~wwills/  
Patrick Bray < http://www.brayyachtdesign.bc.ca/ > and Dudley Dix < http://www.dixdesign.com > are both graduates of Westlawn. Also, here are some threads which I pulled from usenet discussing Westlawn. Note that some of these thread are a little dated, but they are still mostly on topic: How would you compare an education from Westlawn to one from MIT or U of M? I know that Westlawn is much more focused on small powerboat design, but I wonder about the quality of long-distance learning vs. classroom instruction since you're paying a substantial amount for either. Is a Westlawn degree going to open any doors - is it a respected degree in the industry? Click to expand...

Guest

Guest Guest

westlawn big thanks to you Jeff. All these informations are really helpfull for me Thanks michal  

edneu

edneu Junior Member

Westlawn Payment Policy On several of the posts here people stated that Westlawn requires you to pay for the entire course up front. Westlawn has divided the course into four modules, you can pay $450 and them make payments of $150 until you pay for the module (10 months). So the cost is $1950 per module (USD) and the entire course would be $7800 I don't know much about YDS or their payment scheme, but I just thought I would provide this information for anyone considering Westlawn and concerned about the cost. Additionally , Westlawn provides the texts and I beleve YDS has the student purchase design books (Skene's etc). I am certian that anyone with an interest in Yacht Design would purchase these books anyway, but you could get through Westlawn without buying them. My $.02  
A bit of reality Just remember though that the number of new yacht designers that the economy can use is probably on the order of a dozen or less per year. There are more students than that in the Landing School alone, much less Westlawn, and then there are grads of university programs, and self-taught people (Bob Perry, for example). Most Westlawn graduates I know have never had a single job or design commission - the field of yacht design is just too small and competitive. Think about the number of custom boats you have seen, or the number of home built boats you have seen or whatever. Consider too the competition - some designers are trying to sell plan sets for large yachts for under $1,000 - how many of those can you sell in a year? You really have to have something special to offer the field that is compelling enough to make you competitive, and you should be able to say exactly what it is now - otherwise you simply won't make it. Your first task is to explain to yourself exactly why anyone should buy a boat design from you as opposed to some other Westlawn or whatever grad. It had better be a lot more than you completed a training program - so did everyone else.  

ErikG

ErikG Senior Member

My thoughts for what they are worth... Most of the people that study yacht design might work with other yacht related work and not do design per se. Also I think that if you live in countries where the design activity are relatively high, the best way would be to work extra for an existing designer doing detailed technical drawings and assisting with cad work. A lot of the older designers I have talked to still dont use cad at all, but most think they would benefit if they were to use it, so helping out with cad drawings or transferring a handdrawn design to computer could be a great first step into the biz.  
by graduating at westlawn, what type of degree i get and in what? is it a B.S. in marine Engineering? please email answer to [email protected]  
Westlawn does not grant a degree.  
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Ocean Breeze 18

Ocean Breeze 18 New Member

Michal, I started the course in 1974 and never finished it due to lack of money and finishing my BSEE degree. The course is worth it. The pen and ink drawings are what yacht design is all about, as you are designing graceful objects that will be around for 30 to 50 years if they are pleasing to the eye. I ended up using the calculations in Skenes elements of yacht design and wrote the fortran programs for taylor series, stability and so on and wrote the fortran program to calculate the 1/4 ton international IOR racers. Since I was in engineering school at the time I had free access to a IBM 1403 computer at the college. By the way all the mathmetics does is give you a real feel for the reality of how the boat will float on her waterline and some feeling for its stability. You should really take courses in strength of materials, statics and dynamics in college to really figure out what is actually going on. I designed and built molds for an 23 sailboat and an 18 foot sailboat. I built 10 of the 18 foot sailboats. Needless to say I never made any money off of the sailboat business but it has been more fufulling than running an electrical contracting business, designing weapon systems, military simulators, Nuclear Powerplants or Space Shuttles. Larry  

Seiner

Westlawn or virginia tech M

Guillaume Adam

Westlawn design school still operating?

Sailandfish

Future of Westlawn 2.0

Velja

distance learning westlawn or YDS

dgerr

The December 2014 issue of Westlawn’s free online journal is posted

DCockey

Westlawn's future

The september 2014 issue of westlawn’s free online journal is posted, the june 2014 issue of westlawn’s free online journal is posted, the march 2014 issue of westlawn institute's free journal the masthead is posted.

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Doug Zurn was born in Erie, Pennsylvania in 1963 and grew up boating on Lake Erie aboard his family’s McCurdy & Rhodes sailboats, a 17-foot Boston Whaler and a Philip Rhodes Dyer Dinghy Midget. By the age of 17 he had absorbed Skene’s Elements of Yacht Design; eventually preparing his own drawings and boat models in high school architecture class. Zurn received his professional degree in yacht design with honors from The Westlawn School of Yacht Design in 1993, the same year he established Zurn Yacht Design. He maintains a professional membership with the Society of Naval Architects and Marine Engineers (SNAME), as well as the American Boat and Yacht Council (ABYC) and the Yacht Brokers Association of America.

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Westlawn’s dwindling graduation.

By Dan Spurr , Nov 14, 2018

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Prominent alumni like Dave Martin helped Westlawn earn a solid reputation in the yacht design community.

In the December 2014 issue (PBB No. 152), we announced that the American Boat & Yacht Council (ABYC) wanted to divest itself of the Westlawn Institute of Marine Tech­nology, which it had hosted since 2003, citing the venerable distance-learning school as a financial burden. In this column we urged any qualified, financially sound person or school to step up and keep Westlawn from going under. Two issues later, in No. 154, we announced that West Coast sailor and former Westlawn student David Smyth , then 57, had bought the distance-learning school. In a telephone conversation he excitedly described his plans for adapting to the new technologies available such as “open online learning opportunities.” A chancellor and provost had been hired, and former director and CEO, naval architect Dave Gerr , reportedly had been retained to help develop course material.

A recent visit to the school’s website , however, revealed few if any signs of life: no new news since 2013; no newsletter, The Masthead , published since December 2014; and no job postings. So it seemed time to ask Smyth what’s going on.

During a lengthy conversation, Smyth detailed a few of the challenges he has faced. Some of the learning systems he had come to admire at major universities like M.I.T. proved “fairly expensive.” And a hard look at graduation rates was disappointing: of 236 registered students, only “two to 15” were expected to graduate. Current active enrollment, he says, is around 60 worldwide. So even though the school depends almost entirely on student tuition fees, it didn’t make sense to keep recruiting students who weren’t likely to finish any of the various programs. Where in years past the NMMA (National Marine Manufacturers Association) and ABYC subsidized the school, that obligation now falls to Smyth and his personal finances. He says he has pumped in “tens of thousands of dollars,” which is easy to believe.

Changing fee structure

The school maintains a physical office at the Maine Maritime Museum in Bath, occupied by program assistant Cynthia Dolloff, and pays instructor Mark Bowditch, based in Australia, to grade papers and support students through interactive exchanges. To complicate matters, Smyth says he wasn’t given the school’s financial records, and so has had to pay accountants to sort through what records were available and create a sensible financial picture to aid in future planning.

Smyth has made a number of significant changes to control costs and improve graduation rates. All assignments are now uploaded electronically to the school’s server—no more paper. And tuition payment plans have been scrapped in the belief that a student who saves the $4,500 fee (plus $100 per month) per module will be more committed to completing the course work than someone who makes small payments and becomes discouraged or disinterested. For advanced students, Smyth says he invested in a license for MAXSURF, a professional-grade software suite widely used in the industry. This is in addition to enrolling all students in available free software opportunities such as AutoCAD, Inventor, and even subscriptions to Professional BoatBuilder magazine.

What course forward?

While Smyth talks about the school positively and passionately, there are reasons to be concerned about its future. As he points out, depending on student tuition to fund the programs is not sustainable. Founded in 1930, the distance-learning school will celebrate its 90th birthday in just two years, and using that as cause for donation, Smyth is hoping to launch a fundraising campaign that will include alumni and members of the boatbuilding industry.

“I’m very proud of what Westlawn graduates have contributed to the marine industry; their body of work is remarkable, and I think it’s critical we continue to supply the industry with qualified employees,” Smyth says. “I was at our yacht club the other day and looked out at all the boats, and realized nearly all were designed by a Westlawn graduate or at least assisted in some way by one of our graduates.”

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A graduate posted on Facebook about his work and the career opportunities he found. Now Westlawn is seeking to boost graduation.

I agree. But given the fact the website and Facebook page reflect virtually no activity since the sale and purchase, one can’t help but wonder if the school lacks the necessary energy and resources to thrive and fulfill its mission.

On a personal note: With a certificate in Elements of Technical Boat Design (formerly Yacht Design Lite), I told Smyth I won’t be able to give him $5,000, but I’ll happily donate $100. What school today doesn’t rely on fundraising? And it starts with alumni and the industries it serves.

I’d enjoy hearing more from current and recent students regarding their experiences and suggestions. Please e-mail me at dan@ null proboat.com.

Westlawn Institute of Marine Technology, c/o Maine Maritime Museum, 243 Washington St., Bath, ME 04530 USA, tel. 800–832–7430, 207–747–0088, fax 207–747–0084

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VESSEL REVIEW | Sinichka – Electric commuter boats designed for Russia’s Moskva River

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A series of three new electric monohull commuter ferries have already begun operational sailings on the Moskva River in the Russian capital Moscow.

Built by Russian shipyard Emperium, sister vessels Sinichka , Filka , and Presnya – all named after rivers in Moscow – are being operated by the Moscow Department of Transport and Road Infrastructure Development (Moscow Deptrans). They are the first units of a planned fleet of 20 vessels that will serve the capital city and other nearby communities. The new ferry system will be the water transport system to be operated on the Moskva River in 16 years.

Each vessel has a welded aluminium hull, an LOA of 21 metres, a beam of 6.2 metres, a draught of only 1.4 metres, a displacement of 40 tonnes, and capacity for 80 passengers plus two crewmembers. Seating is available for 42 passengers on each ferry, and the main cabins are also fitted with USB charging ports, wifi connectivity, tables, toilets, and space for bicycles and scooters. The cabin layout can be rearranged to allow the operator to adjust the distances between the seats and to install armrests of varying widths.

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An open upper deck is also accessible to passengers and is the only area on each ferry where smoking is allowed.

The ferries are all of modular construction with each ferry’s wheelhouse, main cabin, and other structural elements being built as complete, separate components. This enables the ferries to be easily dismantled for transport to anywhere in Russia by rail and then quickly re-assembled within seven days.

The ferries are also ice-capable. Recently completed operational trials on the Moskva showed that the vessels can also easily navigate under mild winter conditions with broken surface ice, though year-round operations are planned for the entire fleet.

The ferries are each fitted with 500kWh lithium iron phosphate battery packs that supply power to two 134kW motors. This configuration can deliver a maximum speed of 11.8 knots, a cruising speed of just under 10 knots, and a range of 150 kilometres.

Emperium said the transfer of rotation of electric motors to the propeller is carried out by direct drive. As a propulsion installation, a pulling rotary propeller-steering column with double screws is used. The installation of double pulling screws, with similar power, allows an operator to increase the efficiency of the propulsion system to deliver a slightly higher speed or to reduce energy consumption. This arrangement also provides the ferries with enhanced manoeuvrability necessary for navigating in close quarters.

The batteries themselves have projected service lives of 10 to 12 years and are fitted with safety features such as built-in fire extinguishers and gas vents. Quick-disconnect features allow the batteries to be easily removed for replacement or maintenance.

Some of our readers have expressed disquiet at our publication of reviews and articles describing new vessels from Russia. We at Baird Maritime can understand and sympathise with those views. However, despite the behaviour of the country’s leaders, we believe that the maritime world needs to learn of the latest developments in vessel design and construction there.

Click here to read other news stories, features, opinion articles, and vessel reviews as part of this month’s Passenger Vessel Week.

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Photo: Wikimedia Commons/Béria L. Rodríguez

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Scenery Review : Moscow City XP by Drzewiecki Design

  • drzewiecki design

Stephen

By Stephen September 24, 2016 in Payware Airports and Scenery Reviews

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You fly for hours, anticipating your arrival, wanting to take in the area and the views of another country far away from your departure airport. The airport and the area you leave from is detailed and visually full, and you know you have a great airport scenery waiting for you at the other end of the flight, then when you arrive...

...  Nothing, but flat plain emptiness and the same boring standard X-Plane basic scenery, worse there is no OSM (Open Street Map) data in the tile either, so there is no road or autogen detailing in there as well, just well nothing.

When Drzewiecki Design released their UUEE Sheremetyevo Airport XP , I loved it because it was like a visitor from the Cold War past, the Soviet era, and it was also great scenery and great choice of a destination to fly to from any of the capitals of Europe...  but that was it, just this great airport in the middle of nothingness, bland....   zero ville.

Moscow old.jpg

Now Drzewiecki Design has released "Moscow City"  a scenery package to compliment their UUEE Sheremetyevo, and boy how much a difference this release has done to this totally boring area.

To get the full first impression effect I flew JARDesign's A320neo from EFHK Vatnaa, Helsinki to UUEE Sheremetyevo which is flight Finnair AY153 which is a daily 9.25am service.

Moscow City_ Dep Vatnaa 1.jpg

First Impressions

I was surprised to start picking up scenery still quite away out from central Moscow, as I approached my 6000ft transition altitude. Here there was buildings and houses and the physical visual notes you were arriving somewhere.

Moscow City_ Dep arrival 1.jpg

Looking hard at the horizon through the A320's windows and you could see the iconic silhouette of Moscow city.

Moscow City_ Dep arrival 5.jpg

The scenery provides lite versions of all Moscow's Airports, this is UUWW Vnukovo, which was easily recognisable as you flew over. As you fly closer to the centre of the city the density of the objects below becomes quite heavy as the landscape fills in. You have all kinds of infrastructure including, blocks of flats, tower blocks, factories, housing, skyscrapers and almost everything that makes up an urban landscape, in all there is 2000 custom-made buildings that makes up this impressive scenery.

A note here in that you don't get that rolling as you move feeling effect where as it just suddenly appears in front of you and then quickly disappears behind as soon as you have flown out over the area. There is a slight effect of that as there has to be, but only in the far distance and as you can see from the images the views in every direction are widespread and visually it is very good to excellent.

The "Seven Sisters" or "Stalinist skyscrapers" built from 1947 to 1953 are all in the scenery with their "Wedding Cake" architecture or officially  Russian Baroque               - Gothic style. Most famous is the Moscow State University, front and centre of the image below.

Moscow City_ Dep arrival LG 16.jpg

Central Moscow is excellent and extremely realistic, and you really need a travel guide to pick out the landmarks and detail, but it is hard to miss the Red Kremlin complex  and St Peter's square from the air.  Both sides of the aircraft is visually full until you have crossed right over the city.

Moscow City_ Dep arrival 7.jpg

I am not a fan of the generated 3d OSM scenery, but this is very good in blending in perfectly with the X-Plane default scenery and giving you a smooth transition from country to urban and back again with great realism.

Moscow City_ Dep arrival 14.jpg

Over the city and turning north towards Sheremetyevo, another Moscow airport UUMU Chkalovsky is represented on the turn.

Moscow City_ Dep arrival 17.jpg

The city skyline is now easily visible on landing at Sheremetyevo, and that really helps in the arrival factor, more so in that the cities building infrastructure spread now comes up and around the airport to fill the gaps to the city itself, and making the original  Sheremetyevo scenery that was so open and lonely in the old X-Plane view is now a big part of the whole in this combination. No doubt it really brings this always good scenery now alive and very usable.

Moscow City_ Dep arrival 19.jpg

Sheremetyevo Airport

Before we move on to the city itself. It is important to note the area around UUEE Sheremetyevo itself.

Moscow Sheremetyevo 1.jpg

Compare the large image above to the earlier image at the start of this review to see the amount of change there is around UUEE Sheremetyevo with the addition of this Moscow City package. The two sceneries are of course meant to be used together, and in reality it would look odd if you had Moscow City scenery installed without the Sheremetyevo scenery included to fill out the northern areas. A highlight is that both sceneries together form a single whole, as the areas between the airport and the central city area are well filled in and that gives you a huge area of coverage and the full visual aspect.

To get a closer lower look at the Moscow Center I commandeered Dreamfoil's lovely Bell 407.

Moscow Buildings 1.jpg

There is a 4.000km² total area covered with this scenery here, and you have expect some sort of building replication to cover all that ground. There is of course but as well in the fact there is also enough variations as to not keep it all interesting and not obviously visually obvious.

Moscow Buildings 2.jpg

The closer you go to the central area, the variations in the buildings change there in style and density as well. And then more of the iconic buildings start to appear as you get closer in again to the middle. The business district is excellent, with a lot of business towers and the more modern futuristic skyscraper architecture that stands out in every view point in eye scans across the city.

Moscow Buildings 5.jpg

The more recent is in tune with the more older Stalinist era that makes up the Moscow skyline.

The Kremlin Complex and the Cathedral of Vasily the Blessed (St Basil's) is excellently represented and so is "Red Square"

Moscow Buildings 10.jpg

There are Orthodox churches everywhere and all the big icons in the Moscow Cathedral Mosque, Cathedral of Christ the Savior, Grand Arena of the Central Lenin Stadium, Otkrytive Arena and department stores, museums and power stations and more....

I did have issues with many buildings floating, including the Kremlin. I tried both "Runways follow terrain contours" on and off with no flattening of the objects and there is no information in the manual either on how to fix the problem.

Night lighting is very good, yes there is again a repeatable pattern to the majority of the hundreds of the apartment blocks that does stand out, but the more individual buildings do all have that personal touch and some buildings look really very good.

Moscow Buildings Night 1.jpg

The highlight here is the business district which looks magnificent and is very realistic from any direction at night as is the lit Stadium.

Moscow Buildings Night 3.jpg

Although away from the central area the Ostankino Tower that stands 540.1 metres (1,772 ft) tall, and is the tallest freestanding structure in Europe and it looks great at night and is a very good position indicator from the air from any direction.

Included Moscow Airports

As noted also included in the scenery are seven airports and several helipads.

UUWW Vnukovo

Moscow UUWW Vnukovo 1.jpg

The futuristic Vnukovo International is very good for a lite version, with great terminals and lots of small detailing. Only thing missing is the static aircraft and a bit more ramp equipment, but otherwise it is highly usable.

UUDD Domodedovo

Moscow UUDD Domodedovo 1.jpg

The oldest of Moscow's International airports is Domodedovo. Again it is quite devoid of static aircraft and I am not crazy about the blue terminal glass work, but it is still a very workable scenery to use and has a lot of well made objects.

UUBW Zhukovsky

Moscow UUBW Zhukovsky 1.jpg

Zhukovsky was a major aircraft testing facility since the  cold war years, with most of the major Russian Experimental Design Bureau's having facilities here. It is also now used by the Ministry of Emergency Situations! and cargo carriers. It was also used as a test site for the Soviet Buran  reusable Spacecraft because it has the world's second longest pubic runway at at 5,402 m (17,723 ft). Mostly it is a collection of very large hangars but has a lot of static aircraft in storage.

UUMO Ostafyevo International Business Airport

Moscow UUMo Ostafyevo 1.jpg

A former military airbase. Ostafyevo features a new modern glass terminal, and caters primarily to business aviation.

UUMU Chkalovsky

Moscow UUMU Chkalovsky 1.jpg

Chkalovsky is a military logistics airport that is famous for it's support for the Russian Space program and transport to Star City and the Yuri A. Gagarin State Scientific Research-and-Testing Cosmonaut Training Center. Yuri Gagarin left here on his final flight before crashing by the town of Kirzhach.

UUBM Myachkovo Airport

Moscow UUBM Myachkovo 1.jpg

Myachkovo is a small General Aviation Airport that is owned by the Finpromko company. Cargo aircraft up to the size of the Ilyushin ll-76 freighter can also use the airport.

UUMB Kubinka

Moscow UUMB Kubinka 1.jpg

Kubinka has been a significant Russian military airbase and large airshows are held here to show off the Russian military might.

There is also provided UUU1 Kremlin Airport, within the Kremlin walls, but I couldn't get it to work? There are two pads in H1 and H2.

Your first thoughts after reviewing this excellent Moscow scenery is not with this actual package. You then wish that you could have this extensive scenery at London, Rome, Madrid, Berlin and the list could go on with any of your favorite European Cities, and don't count a load in the Middle East and Asia. But a London scenery like this would certainly be a godsend in our X-Plane world. Drzewiecki Design has already done Warsaw and Manhattan, so there is always hope.

It is not cheap either and you need to add in their UUEE Sheremetyevo scenery package on top of that as well. But you get an awful lot of ground covered here for your money, with the area covered here that is extensive...  huge and flying into Moscow will never be the same again.

A few areas to note in one that in my case a few of the buildings floated, the download is huge load at 1.4gb and this Russian area is not the best for navigation aids and programming FMS units as most waypoints are not recognised. Most of the airports ILS coordinates also have to checked and recalibrated (Drzewiecki Design do provide all the correct coordinates) so there is a little work to do to set up repeat services but the work is worth the results.

Not only is the actual Moscow city and all it's buildings supported, you also get seven (if lite versions) of Moscow's other airports included as well, but the framerate processing of all this huge amount of objects and scale is pretty good to excellent. Framerate does hurt more on a lower (helicopter) level and certainly you need a computer with a little extra power is in no doubt required, but overall for the size of the area the scenery is extremely efficient.

Yes I was impressed by this Moscow City Scenery, as this once very barren area of X-Plane is now a very attractive repeat destination as nothing can give you a greater fulfilment than seeing your destination appear in the distance and then give you a huge visual experience as you fly over and approach your destination.

Moscow City certainly delivers that and more...  Just more sceneries like this please!

X-Plane Store logo sm.jpg

Moscow City XP by Drzewiecki Design is NOW available! from the X-Plane.Org Store here :

  • Extremely detailed model of Moscow metropolitan area in Russia
  • Almost 2000 custom-made buildings and other objects, all high quality, FPS-friendly and with night textures
  • Whole Moscow center done in 3D as well as all other important landmarks - museums, palaces, skyscrapers, towers, bridges, railway stations, Zara stores...
  • Trains, ships, 3D people, cars, airport vehicles, static aircraft - anything you can imagine
  • About 4000 sq.km of photoreal 0,5-1m/pix terrain with autogen
  • Sceneries of all surrounding airports including UUWW Vnukovo, UUDD Domodedovo, UUBW Zhukovski, UUMO Ostafyevo, UUBM Myachkovo and UUMB Kubinka, with all airport buildings, detailed layouts, people, airport vehicles and more
  • Very detailed Kremlin model with newly constructed heliport

Requirements

_____________________________________________________________________________________

Installation and documents:

Download for the Moscow City XP is 1.47gb and the unzipped file is deposited in the "Custom Scenery" as four files:

DDZ Moscow City XP (3.99gb) - Yes GIGABYTES!

DDZ Moscow City XP Layer 2 (30.20mb)

DDZ Moscow City XP Documents (1.0 mb)

ZZZ_DDZ Moscow City XP Terrain (20.10mb)

Installation for Windows comes with an .exe installer that deposits the files in the correct order required (however I still moved the ZZZ- folder to the bottom via the INI text install list.

Installation Instructions are provided for Mac and Linux

You need to check all airports ILS coordinates are correct, instructions are provided.

Documents: Two documents include

Moscow City XP MacLinuxinstall

Moscow City XP Manual (seven pages)

Review System Specifications:

Computer System : Windows  - Intel Core i7 6700K CPU 4.00GHz / 64bit - 16 Gb single 1067 Mhz DDR4 2133 - GeForce GTX 980/SSE2 - Samsung Evo 512gb SSD 

Software :   - Windows 10 - X-Plane 10 Global ver 10.50

Addons : Saitek x52 Pro system Joystick and Throttle : Sound - Bose  Soundlink Mini

Plugins: JARDesign Ground Handling Deluxe US$14.95 : WorldTraffic US$29.95

Scenery or Aircraft

- Airbus A320neo by JARDesign ( X-Plane.OrgStore ) - US$59.95 : A320neo Sound Packs by Blue Sky Star Simulations ( X-Plane.OrgStore ) - US$19.95

- Bell 407 by Dreamfoil Creations ( X-Plane.OrgStore ) - US$34.95

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  • 7 months later...

jsperl

Thank you for this very thorough (as always) review. I just bought it (it's on sale) and have only one disappointment so far: Red Square has no ILS or any landing aids at all for that matter. And what a nightmare of an approach! Also I was hoping the package would include an add-on that gives my c172 a big cup holder for my Stoli. Otherwise the scenery is gorgeous. What a country!

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Moscow Has a New Standard for Street Design

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  • Written by Strelka Magazine
  • Published on August 25, 2016

Earlier this year the development of a new Street Design Standard for Moscow was completed under a large-scale urban renovation program entitled My Street , and represents the city's first document featuring a complex approach to ecology, retail, green space, transportation, and wider urban planning. The creators of the manual set themselves the goal of making the city safer and cleaner and, ultimately, improving the quality of life. In this exclusive interview, Strelka Magazine speaks to the Street Design Standard 's project manager and Strelka KB architect Yekaterina Maleeva about the infamous green fences of Moscow, how Leningradskoe Highway is being made suitable for people once again, and what the document itself means for the future of the Russian capital.

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Strelka Magazine: What is the Street Design Standard and what does it include?

Yekaterina Maleeva: The Street Design Standard is a manual for street planning in Moscow . The Standard is divided into four books, each one of them covering particular aspects of street design. Many cities across the globe have developed their own standards and the concept has gained a lot of popularity over the last decade. The New York Street Design Manual is a famous example; the book has even been translated into Russian. However, Moscow streets have little in common with New York streets, for example; every city has its own unique urban typology and simply copying existing solutions from another manual is not a viable option.

When we started our work on the Standard , the first thing we did was study Moscow streets, their peculiarities and common features. The first volume of the Standard focuses on the typology and distinctive attributes of the streets of Moscow. We gathered data on more than 3,000 streets and processed the data. Despite the large sample size, we discovered certain similarities. We managed to identify ten of the most common street types, but some unique streets could not be categorized. For instance, Tverskaya Street, built in 19th century, originally fell under category "10C." But after it was widened in the 1930s, Tverskaya ended up in a unique place within the urban fabric of Moscow. Such objects as that require a case by case approach and an individual project.

What can be found in the other volumes?

After we identified these ten street types, we started working on defining the best way to approach the development of each. The second book describes what a street of each type must have. We developed a general profile and functional zoning for each type. The pavement is more than just a pedestrian lane: there is a buffer zone between the roadway and the walking lane where the parking posts, street lights and communication lines are located. It’s a mandatory utility zone that has to be paved in such a way that any section can be easily unpaved and replaced. There is also a pedestrian fast lane for people walking to their workplace and a promenade with benches and other objects. Building façades have a large impact on the street they are facing. Restaurants and shops are located in these buildings. Making the adjacent zone retail-friendly is important. Cafes and restaurants must be able to open street patios to attract customers without disrupting the pedestrian traffic. How to apply these concepts to each of the street types is thoroughly explained in the Standard .

The third book describes eleven groups of design elements, including surface materials, benches, trash bins and lights. This catalogue of elements contains no mention of suppliers. It does not promote any manufacturers; instead it describes the attributes which define a quality product. For instance, the third book explains which type of tree grates will serve the longest while causing no damage to the root system of a tree. Styles of grates, bins, benches and other elements may vary, but all the items must comply with the quality standard.

Finally, the fourth book focuses on the planning process: how to perform preliminary analysis, how to apply user opinions during the development and how to achieve quality implementation. Additionally, there is a special emphasis on the fact that street planning cannot be carried out without any regard for the context of the street. A street should be regarded as a part of an interconnected system of various public spaces, together with adjacent parks, garden squares, yards and plazas.

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Does the Standard have an official status? Should it be considered a law or merely a guideline?

There are a number of state-level laws and regulations relevant to street design issued by the Moscow Government. They were taken into account during the development of the manual. These regulations ensure safety standards and must be complied with. While the existing legislation covers safety aspects, our books introduce comfort standards. The Standard is basically a non-binding, advisory guideline created with the goal of improving the urban environment everywhere across the capital and maintaining it at a high level.

What happens if a street does not fit any of the mentioned types (and is not as significant as Tverskaya)? For instance, what if a street located in the New Moscow territory has cottages on one side, apartment complexes on the other and an entrance to the Moscow Ring Road somewhere along the way?

A standard is not a ready-made solution. The streets share common features yet also retain their individual attributes at the same time. Applying a single standard profile to every street is impossible. Adjustments are always in order.

The Standard offers three sets of solutions for each type of street with a large potential for combining various elements. The manual basically offers a convenient database that a designer working with a new space could use. That does not mean that all the new projects will look exactly the same. Some solutions featured in the Standard are yet to be implemented anywhere in Moscow . For instance, our collaboration with Transsolar, a German company consulting us on environmental comfort, revealed that Moscow’s largest environmental problem was not in fact CO2, but small-particle dust produced by studded tyre traction. And a simple method to control this type of pollution already exists. Many busy streets outside the city center have a green buffer zone separating the roadway from the sidewalks. A 1.5m high ground elevation running along this zone could filter out up to 70% of the tyre dust, preventing it from spreading into the residential areas. Western countries have been successfully using this technology for many years. Now it is a part of Moscow Standard . By the way, a terrain elevation could also help reduce the level of road noise.

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Does the Standard offer anything for the main roads? For example, nowadays Leningradskoye Highway basically splits the city into two disconnected parts; it’s a car dominion.

The Standard does not offer solutions for transportation problems. When we were defining our street typology, we relied on traffic load data calculated using Moscow ’s transportation model. We pursued a goal of only offering solutions that would not aggravate the current transport situation. Any planned sidewalk extension or addition of a bicycle lane or road crossing should first be approved by the Moscow Department of Transport.

As for the main roads, our research revealed that the streets with the highest traffic load also have the heaviest pedestrian traffic. One would think that it should be the other way around. However, the main roads have metro stations, which generate a lot of pedestrian traffic, which in turn draws retail. Treating main roads the same way as highways is impossible. The needs of both vehicle traffic and local residents must be taken into account, which creates a paradox.

These territories have every opportunity to become more comfortable. Some have relatively large green buffer zones that currently remain underused. The Standard proposes to augment these zones with additional functionality. On one hand, some of the main streets will gain attraction centers, especially near intersections connecting them to the adjacent residential areas. Weekend markets are one example of such centers. On the other hand, the Standard involves the creation of zones able to absorb extra precipitation flowing from the roads and filter it. There is a list with types of vegetation best fit to handle this task. The same zones could be used to store snow in the winter. The meltwater will be naturally absorbed by the soil, alleviating the need for moving the snow out to melt. This, however, would require decreasing the quantity of melting chemicals sprayed over the snow, as the plants underneath might be susceptible to their effects.

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Can the new Standard rid us of green lawn fences, yellow curbs and other eternal eyesores?

The choice of yellow and green appears random, so we have no idea how to actually fight that. The Standard offers no colour schemes. As long as fences meet the set requirements, their colour does not matter. However, currently they seem to fail to comply. The Standard states that lawns do not require fencing. This is a waste of materials: people will not trample grass and bushes just for the sake of it, while dog owners will trespass anyway. There are many other options for protecting lawns from being trampled. For instance, a same-level pavement strip with a different texture could protect a lawn from accidental intruders just as well as a curb can.

Natural soil water absorption is currently largely ignored, with most  precipitation going down the storm drains. Meanwhile patches of open terrain on a street are able to absorb water. Employing these natural cycles in street layout could save resources.

Does the Standard provide any financial estimations? For instance, an approximate cost of renovating a street of a particular type?

No, as the Standard does not list any products of any particular brand, there are no prices to refer to. Nonetheless, the Standard was developed to fit three potential price ranges. Whether their estimated price is low or high, all the elements ensure that quality requirements are met. The same quality level must be maintained across the whole city and never drop below the set standard.

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Let’s say a world-famous architect arrives to Moscow to design a street. He puts incredibly beautiful things into his project, which, unfortunately, contradict the Standard and are not guaranteed to work as intended. In that scenario, will the architect be told to stick to the Standard ?

This could happen and I think it would be a good thing. If an architect plans to place a sculpture on a 1.5 meter wide sidewalk, would that really be a good idea? Following the Standard ensures smooth movement. Its goal is to reinvigorate the streets. In Copenhagen, new design manuals helped increase average time spent by residents outside by 20% over 10 years. That was achieved through creating convenient and attractive public spaces. Moreover, implementation of the Standard enables the creation of professional documentation for architects, which excludes the possibility of any instructions that will later be unclear to the experts trying to work with them. Finally, the Standard also pursues the task of providing the opportunity for the development of street retail.

Isn’t retail a whole different story? How can retail be introduced in such places as Strogino District, where the ground floors are living floors and have security bars on windows? By reintroducing street vendors?

True, business has no direct relation to street renovation. However, there is a strong connection between them. In Strogino, building façades are mostly located far from the sidewalk. Moreover, facades are often concealed by shrubbery and trees, making local businesses even less noticeable. Another problem is that first floor apartments cannot be used for commercial purposes due to insufficient ceiling height (3 m compared to 3.5 m required minimum). Nonetheless, we discovered multiple examples of shop owners reconstructing apartments in residential districts to meet the requirements.

Our British consultant Phil Wren, a street retail expert, travelled Moscow ’s residential districts and studied the existing examples. He came up with a great idea: building an expansion connected to the façade and facing the sidewalk. This makes it possible both to achieve the required ceiling height and increase the visibility of the business to the passers-by. The part of the shop located in the apartment can be used as a utility room or a stockroom. This way the noise level is reduced, regulations are met and store space is increased. Our Russian consultants confirmed the viability of the proposed concept. And the Standard will ensure that any added expansions will look presentable.

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Does the  Standard also regulate façade appearances, an architectural element? What should be expected from this? It is unlikely that all houses which fail to comply will be demolished once the Standard is implemented. 

Renovation works with what is given. Of course, façades cannot be changed. Central Moscow has a problem with mansions and many other buildings being fenced off, which prevents them from accommodating street retail. Central streets are also relatively narrow. The Standard proposes sidewalk expansion wherever the access to the first floors is open. Street renovation does not always involve planting trees. Some places require enhanced crossings so that people can quickly reach the other side of the street to get to a shop or a café. Those streets where the facades are windowless are a more suitable place to plant more vegetation.

Can an average person – not an architect, designer or construction worker – understand the new Standard , or is it a technical document which can only be interpreted by a professional?

Any person can. The Standard is written in a way that both professionals and common citizens are able to understand. The Standard contains multiple images, photos, infographics and diagrams and is written in plain language. We would love for more people to read it: the books contain many interesting solutions for our city that affect every pedestrian.

In late March it was revealed that Strelka KB would be developing a standard for recreational zones and public areas in Moscow . What differences will that document have from the Street Design Standard ?

The two standards will have a lot in common. The city currently faces a task of developing a connected system of public spaces. The first logical step was to work with the streets which actually connect areas of attraction and other public spaces. Now the work on all other public spaces takes off. Parks, garden squares, yards, water bank recreation areas, plazas near metro stations must all fall into place. Work with these territories will set a single quality standard. In addition, it will improve Moscow ’s quality of life and reduce air pollution. Simple solutions could improve airflow, increase biodiversity and reduce noise levels at the same time.

The renovation program is quite long and depends on numerous standards and documents. But when exactly will the endless repair works end? Are there any time estimations for when all these concepts will finally get implemented?

This is not an easy question. Full renovation may last decades. The Standard is the first step towards actually controlling the renovation process and its timeline. Until now renovation has been proceeding rather haphazardly. Now the city has decided that the way the streets are designed should be clarified. We understand that the Standard cannot last unchanged for eternity and should, just like any regulation, undergo periodical updates. The Standard uses flexible typology: a street of one type could transition to another within a few years under certain conditions, such as changes in its usage and its user categories. Everything must stay regularly updated according to the accumulated experience.

During our work on the Standard , we held regular roundtables joined by experts and ordinary citizens. One of our guests mentioned that he had recently started paying attention to Moscow ’s facades, their beauty and their drawbacks. He was able to do that because he no longer had to watch his step. So the process has already started and we already see some results.

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    A comprehensive four-module professional education, the Westlawn Yacht Design & Naval Architecture course enables you to master the principles of yacht design using industry standard tools, including Rhino3d and AutoCAD. During this course, you will prepare plans, computations, specifications and all the details for nine different boat designs.

  2. Westlawn Institute of Marine Technology

    The Westlawn Institute of Marine Technology is a distance learning school of yacht design in Bath, Maine, United States, established in 1930. Graduates of the school receive the Westlawn Diploma in Naval Architecture, Marine Engineering and Yacht Design. The 320' three-masted schooner Eos was designed by Westlawn graduate Antonio Ferrer.

  3. Westlawn Institute of Marine Technology

    Westlawn Yacht Design Institute is a not-for-profit online school famous... Westlawn Institute of Marine Technology, Bath, Maine. 622 likes · 1 was here. Westlawn Yacht Design Institute is a not-for-profit online school famous for its successful alumni

  4. The History of the Westlawn Institute of Marine Technology

    Westlawn's full program, Yacht and Boat Design, includes four modules: introduction to small-craft design, intermediate boat and yacht design, construction methods and systems, and equipment. Study materials include 34 textbooks that cover a wide range of subjects including hydrostatics, stability, performance, hull forms (power and sail ...

  5. Westlawn Institute of Marine Technology

    Yacht Design and Naval Architecture Program Online for Marine Professionals. The Westlawn Institute of Marine Technology has been providing the education necessary for anyone with the drive and desire to become a practicing small-craft designer since 1930. Over the years, Westlawn has produced more practicing small-craft designers than many of the other institutions in the world combined.

  6. Passionate About Yachting? Learn How You Can Design Your Own Yacht!

    The education is effective, comprehensive and convenient to your busy schedule. If you would like more information about how the Westlawn Institute of Marine Technology can make you more knowledgeable in yacht design, please call +1 207-853-6600 or visit the website at www.westlawn.edu.

  7. 2007 Westlawn/ Island Packet Yachts Design Competition: Finalists

    Still, with some modest adjustments and with careful monitoring during construction to control weight accumulation, this yacht could make the transition from a nice-looking design to a cruising boat that's both a pleasure to sail and to behold. 52-Foot Yawl Abigail Specs. LOA 51′ 10″ (15.81 m.) LWL 41′ 8″ (12.70 m.)

  8. The best yacht design courses to kick-start your career

    The Westlawn Institute has been teaching yacht design for more than 80 years, and currently offers an online distance-learning programme. The Yacht and Boat Design course is taught by tutors based in the USA and Australia, and is accredited by the Royal Institute of Naval Architects in London.

  9. ⚓️Westlawn (@WestlawnYachts) / Twitter

    The Official Twitter of the Westlawn Yacht Design Institute. Teaching yacht and small craft design since 1930. Joined January 2016. 3,226 Following. 1,709 Followers. Tweets. Replies. Media. Likes. ⚓️Westlawn's Tweets. Westlawn @WestlawnYachts · Jan 20, 2022. In 1959 Willis Slane hired Westlawn Alum Jack Hargrave to design him a yacht ...

  10. Dudley Dix

    Dudley Dix. dixdesign.com. Dudley Dix is a Westlawn graduate and has been designing professionally since 1980. He won the Cruising World Design Competition in 1979 with the CW975 before going professional. His SHEARWATER 45 was selected as Traditional Voyager of the Year and overall Boat of the Year 2011 at the Annapolis Sailboat Show.

  11. Unsung Heroes of Yacht Design

    In 1948, right out of high school, he joined the Egg Harbor Yachts planking crew. When John Leek launched Pacemaker the following year, Martin moved to that company and helped plank the first boat, a 29-foot sea skiff designed by E. Lockwood Haggas. While boatbuilding during the day, Martin studied the Westlawn School of Yacht Design course at ...

  12. Westlawn Students Chime In

    In the December/January issue, No. 176, we invited Westlawn Institute of Marine Technology students past and present to share their experiences with and opinions about the 89-year-old distance-learning school specializing in boat design—this after the sale of the school by the American Boat & Yacht Council (ABYC) to David Smyth, in 2015. Problem was, in recent decades at least, it lost money ...

  13. Yacht design school. Westlawn vs The Landing school

    Westlawn vs The Landing school. I work in the boatbuilding industry and have been referred to Westlawn many years ago for a yacht design school but I have recently read a few older articles on the school and how it may be lacking in the modern world. Does anyone have and insight on if it still is the "best" yacht design school in 2022?

  14. Westlawn Shool of Yacht Design

    The course comprises two "terms", each comprising two "modules". The first module covers the principles of small craft naval architecture: Intro, Math, Hydrostatics, resistance, stability & marine drafting. The second module covers boat and yacht design: exterior, interior, high speed power boats, Sailboats, multi-hulls.

  15. Meet the Founder

    Zurn received his professional degree in yacht design with honors from The Westlawn School of Yacht Design in 1993, the same year he established Zurn Yacht Design. He maintains a professional membership with the Society of Naval Architects and Marine Engineers (SNAME), as well as the American Boat and Yacht Council (ABYC) and the Yacht Brokers ...

  16. Westlawn's Dwindling Graduation

    I'd enjoy hearing more from current and recent students regarding their experiences and suggestions. Please e-mail me at dan@ proboat.com. Westlawn Institute of Marine Technology, c/o Maine Maritime Museum, 243 Washington St., Bath, ME 04530 USA, tel. 800-832-7430, 207-747-0088, fax 207-747-0084. Article Category: Education, Rovings.

  17. David Smyth

    · Experience: Westlawn Yacht Design Institute · Education: University of California, Irvine · Location: Los Angeles, California, United States · 500+ connections on LinkedIn. View David Smyth ...

  18. VESSEL REVIEW

    About Us. Baird Maritime, launched in 1978, is one of the world's premier maritime publishing houses.. The company produces the leading maritime new portal BairdMaritime.com, home of the world famous Work Boat World, Fishing Boat World, Ship World, Ausmarine, and Commercial Mariner sub-sites, and the industry-leading ship brokerage platforms WorkBoatWorld.com and ShipWorld.com.

  19. Scenery Review : Moscow City XP by Drzewiecki Design

    Moscow City XP by Drzewiecki Design is NOW available! from the X-Plane.Org Store here : Moscow City XP. Price: $36.00. Scenery features: Extremely detailed model of Moscow metropolitan area in Russia; Almost 2000 custom-made buildings and other objects, all high quality, FPS-friendly and with night textures;

  20. Moscow Has a New Standard for Street Design

    Published on August 25, 2016. Share. Earlier this year the development of a new Street Design Standard for Moscow was completed under a large-scale urban renovation program entitled My Street, and ...

  21. Main Moscow architects: Melnikov, Shchusev, Schechtel, Iofan

    Alexey Dushkin. Alexey Dushkin - (1903-1977) One of the principal architects in Soviet-era Moscow, he left a particularly bright footprint in the Moscow metro's architecture. He designed landmark stations like Mayakovskaya (1938), The Palace of the Soviets (now called Kropotkinskaya, 1935), Revolution Square (1938), and Novoslobodskaya (1952).