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Sailing Ship Concept Art and Illustrations

We’ve collected an assortment of sailing ship illustrations, sketches and concept art pieces created by the talented artists that have been previously featured on Concept Art World. If you would like to participate in a future theme for the Inspiration section, be sure to message us on Twitter or Facebook .

All images are the © copyright of their respective owners.

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7 Bold New Superyacht Concepts We Want to See on the Water

From yachts that run on hydrogen fuel cells to a vessel with a bonkers new sailing rig, these designs may well be the future of yachting..

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With record demand for new yachts by ever-younger owners, designers have been busy with fresh concepts. These seven concepts go far beyond tweaking the beach club or adding a few windows. They flirt with hydrogen fuel-cell propulsion, glass-bottomed swimming pools to light lower decks, and even hidden pilothouses using augmented reality to navigate the yacht.

What’s more, they explore much larger concepts of the use of space, and how owners and guests actually use the superyachts. Three-deck glass atriums, huge piazzas and nature parks bring new opportunities for life on board—and free up the imagination to explore possibilities.

Kairos By Oceanco, Pininfarina and Lateral

Kairos , officially launched by Oceanco at September’s Monaco Yacht Show , is a new way of thinking about onboard life. The 295-foot design combines asymmetric shapes, transparent structures and few physical barriers, all culminating in its vast piazza, which is the most dramatic area of this forward-thinking concept. The Dutch yacht builder partnered with Italian design firm Pininfarina, with technical assistance from Lateral Naval Architects.

Beyond the beautiful spaces—including a number of suites on the lower decks, and a panoramic balcony on the top deck, the hull has an asymmetric shape, with no clear bow, so it can move in opposite directions. The design team choose to think of Kairos as a “living, floating island,” rather than a conventional superyacht. “A 360-degree approach to design at once connects you to the sea below, to the light above and to the spaces and people beside you,” said Paolo Pininfarina, regarding the concept. “It nourishes your curiosity on an instinctive level and encourages you to explore new experiences and perspectives.”

The yacht also has sustainability in mind, with all-electric propulsion in its diesel-hybrid configuration. The e-Hybrid architecture permits extensive operation with no noise, lower vibrations and zero local emissions.

Alice by Lürssen

German boatbuilder Lürssen has ventured down the rabbit hole with its first ever superyacht concept, the 321.5-foot Alice . Inspired by Alice in Wonderland , the five-deck climate-neutral yacht features a floating, pod-like superstructure, which houses the owner’s deck and bridge, and an open-air main deck. “The design takes inspiration from the small ferries in Amsterdam where the captain sits in a pilot deck above, and below is a passage way for people to pass through,” Jim Sluijter, lead exterior designer told Robb Report.

A full-sized Padel court sits aft, with a dance floor, bar and dining area amidships, and forward a Japanese-themed garden with ponds, greenery and a bridge. A floating glass-bottomed pool suspended across an opening in the sun deck adds wow factor. Powered by emission-free fuel cells that generate electrical energy based on hydrogen, Alice is also equipped with a methanol engine for higher speed and energy demands. A waste heat recovery system, organically farmed wood and eight lower deck guest suites complete the offering, with interior design by Dasha Moranova Designs.

Apache Concept by Tankoa

Tankoa Yachts introduces a new technical platform with its 249-foot T760 Apache concept. Key to the design is a 31-foot “flying” glass-bottomed pool suspended in the bow between the upper deck and main deck; it begins at the foot of the bed in the owner’s suite and filters light into the semi-open lounge and gym on the deck below.

The lower deck beach club with folding side terraces delivers over 1,300-square-feet of chic resort space and the yacht’s second pool. When the folding platforms are closed, one-way glass the same color as the hull creates a private lounge area with views out to sea. “We created a gym and wellness space on two levels for the guests to enjoy,” designer Alberto Mancini told Robb Report. “We also wanted to avoid the typical dark cave effect found on many beach clubs.”

But the best seat in the house is reserved for the cozy observation lounge or crow’s nest with panoramic vistas high above the water, ideal for enjoying the last rays at sunset.

Scintilla by Tillberg Design

At 393 feet, Scintilla is a modern voyager conceived for world cruising. We recently reported on her sister concept, Mimer . A collaboration between DreamLiner Yachting, IYC, Tillberg Design of Sweden and Laurent Giles Naval Architects, the concept is designed to welcome 36 guests and 44 crew and puts fuel-efficiency at the fore. Scintilla can accommodate hybrid engines, as well as a combination battery and alternative fuel system, and eco-conscious materials have been used on the interior and exterior spaces. However, all eyes are on the smorgasbord of explorative toys and tenders, which blows the standard wakeboard and paddle board offering out the water. The dedicated toy area has room for a seaplane, submarine, foldable catamaran, expedition RIBS, amphibious and land vehicles, jet skis, quads and a helicopter. At the end of a long day, a multi-level owners’ suite, comprising the aft portion of the bridge and heli-decks, opens onto a private deck complete with Jacuzzi and infinity pool to rejuvenate aching muscles.

Merveille 253W by Merveille Yachting

The 253-foot Merveille 253W is a sailing yacht with a difference. With a focus on reducing fuel consumption and increasing efficiency, the explorer concept, produced in partnership with Feadship, features a new wind-assisted propulsion system that doesn’t require rigging. Designed by AYRO, the fully automated Oceanwings can rotate 360 degrees, have an adjustable camber and twist and can retract when furled. When under sail using the Oceanwings, underwater turbines regenerate the kinetic energy to recharge the battery packs. The yacht is also equipped with wind turbines and solar panels for additional sources of renewable energy. A large, uncluttered deck space combined with a 63-foot beam creates a sense of calm. A sunken swimming pool on the bow is the matching Zen detail.

One 50 by Meyer Yachts

Startup brand Meyer Yachts recently announced a new concept called One 50, which is a 150-meter (492-foot) six-deck superyacht that will have accommodations for 44 guests, a two-level spa, a real movie theater with adjoining billiard room, an entertainment area with a stage, an art gallery and a huge infinity pool. Oh, and it will be powered by fuel cells and battery banks, so will generate zero carbon emissions. The system will generate 25,000 kilowatts giving this gigayacht a maximum speed of 23 knots.

Pure by Feadship

Feadship’s 268-foot Pure , also unveiled at the Monaco Yacht Show, has at least one revolutionary feature—it places the traditional pilothouse below-decks, in a cabin that uses augmented-reality visualization that connects with radar, AIS, maps, depth sounders and cameras. That will allow the captain to see everything virtually—perhaps more than looking through the windshields of the pilothouse—with all necessary navigation information at hand. This kind of helm has been used on naval vessels like submarines, but never on a superyacht. Feadship said that the concept was embraced by many captains, particularly younger ones who are comfortable with technology.

Pure also has other breakthrough designs like a three-deck elliptical glass atrium, retractable glass-bottomed Jacuzzi amidships, and a large beach club with three fold-down balconies aft and both sides. Located half inside, half out, the atrium incorporates large slabs of glass to provide a clear line of sight across three of the five decks. Filling the interior with natural light, the vast central space means guests must look to private balconies for privacy.

Pure was also designed with flexible “energy-hybrid” propulsion that would evolve over time. From diesel electric in 2024, to hydrogen in 2027, to all-methanol fuel cells in 2030, the concept is designed to respond to advancing technology, depending on which sustainable fuels become most viable.

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'second sun' sailboat concept is made of algae-based biopolymer + ocean plastic

A future sailboat by furf design studio and designer cesar pieri  .

Speculating the future of watercraft innovations, the collaboration between Furf Design Studio and designer Cesar Pieri unveils a new sailboat created to have minimal impact on nature, both environmentally and visually. Titled ‘Second Sun’, the sailboat has a transparent hull made from algae -based biopolymer, while the rest of the i nternal structure and fabric are made with plastic taken from the oceans. The transparency of the sail blends with the waves and sea creatures, reinforcing the connection between the sailor and the sea and creating a new experience for sailing. Moreover, as the project’s name ‘Second Sun’ suggests, the mainsail’s round shape and yellow color represent a second sun, inspiring a more sustainable future.

all images courtesy of Furf Design Studio

made of plastic from the oceans 

The collaborative innovation by Furf Design studio , and designer Cesar Pieri focused on using suitable and environmentally friendly materials within the internal structure. The fabric is made out of polluting plastic retrieved from the oceans to raise awareness of the everlasting environmental impact of plastic water pollution. Diving into the functionality of the sailboat, it is inspired by famous America’s Cup sailboats and circular winged aircraft where the avant-garde wing-shaped sail turns and curves to increase or decrease thrust. Second Sun is an iconic sailboat developed with the hope to bring more light for a conscious future.

project info:

name:  Second Sun designer:   Furf Design Studio & Cesar Pieri

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers  here.

edited by: zaha mango | designboom

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Yacht Interior Design Concepts. Part 1

• October 3rd, 2016
• Cruise Report

As you may have read in one or two of my articles on the refit project of my own King´s Cruiser 33 sailing yacht a lot of effort goes into the refurbishment of the boat´s interior. That´s because my 40 year old ship hasn´t lost any of her undeniable sailing qualities, but therefore a lot of her appeal and appearance. Though most of the works done is cosmetic, I often wonder which way is the best, how to do this and that the right way in order to keep the King´s Cruiser´s character on the one hand and to achieve a modern approach with a yet classic appeal in re-designing her internal fitting. Strolling around the various boat shows is a welcome inspiration. Such as the Interboot Friedirchshafen, where I was able to spend two days.

This article is dedicated to showing some interior design concepts of a handful of boats I visited on the Interboot. Maybe I can draw some inspiration from the solutions done by the big brands like Beneteau, Jeanneau, Dragonfly, Hallberg-Rassy, Dufour or Dehler. Some 90.000 people have been attending Interboot fair this year, situated at the Lake Konstanz, a huge inshore water marking partially the border between Germany, Switzerland and Austria. Though the emphasis of the Interboot is on smaller vessels, mostly Daysailers, there have been quite a handful of bigger ships meant for serious offshore sailing: The charter sailing areas of the Adriatic aren´t that far away. Here´s what I´ve noticed: I´ve visited nine different boats, 4 of them in this first article, another 5 in the upcoming Part 2.

The big bold Cruiser: Beneteau Oceanis 45

I was very much interested in seeing this boat as Beneteau is undeniably the market leader and the yard with the highest output of production sailing yachts worldwide. So I bite the bullet and put myself in the queue to get a glimpse of her interior design. The Beneteau Oceanis 45 is some 14 meters in length over all, has a maximum beam of 4.50 meters and a displacement of some 10.5 tons. That´s quite a punch.

By waiting in line I could inspect her outward appearance. Well, she is a big lady. Not very distinctive lines, nothing really exciting for one´s eyes to get a grip on. The huge portholes seem a bit oversized to me, the cabin´s superstructure is round shaped in a convex line which appears unnatural. Lots of plastic and no teak decking whatsoever. All in all her appearance was … well, not very glamorous. Worst about her outward design was the targa bar, hosting the mainsheet traveller as it is costumary on all Oceanis variants right now. It may be perfect for Bimini fixing, but believe me – especially in combination with the huge sprayhood – it looks overdesigned and really awkward. Well, let´s go inside.

Since this 45 feet yacht is a big fellow and no matter if owned by an individual or used by a larger group of people on a charter cruise, 45 feet should be more than spacious. But upon entering her saloon I was instantly disappointed, because I really couldn’t develop a sense of spaciousness at all. I really don´t know if that´s due to the color-scheme of that particular boat (50 shades of coffee-brown) or due to the layout of the whole interior, I couldn´t get a feeling of coziness here.

Entering the saloon from the companionway there´s a galley to port side and a saloon. A U-settee on starboard side with a folding dining table and a 2-person settee to starboard side, of which I´d like to talk later. The L-shaped galley offers more than enough space for cooking and working the plates, a large fridge and a 2-flame stove should be more than enough. Stowage is plenty of available, so that´s a plus for the Beneteau 45. Vis-à-vis a large head with shower can be used by the crew. But let´s go back to the saloon concept as it is the most remarkable – and awkward – detail on that boat.

By taking a closer look to the starboard U-settee I couldn´t help but shake my head: For my taste there´s absolutely nothing at least trying to appeal my eyes: The portholes are far too big, the veneer providing cover for the porthole has an even bigger porthole-outlet creating a feeling of being unfinished. The walls offer no structure at all and I felt battered by the sheer vastness of dull brown and grey colors. I know, well – I hope – that owners could choose other fabrics, colors and hopefully wooden veneers too, but this particular configuration and design didn´t appeal to me at all. Which is a pity. Learning for the design of my own boat: A ship´s internal fittings should at least partially be of wooden materials. In this sense, the new Beneteau 45 is just too modern for me.

But that wasn´t the only awkward thing about the boat. Spending lots of time to think about the perfect navigation station on my own boat and in designing and building the perfect chart table I am always particularly interested in the solutions of contemporary yachts in these terms. The Beneteau 45 was in this case a real runaway: Why would a ship´s designer put the chart table to the farthest place away from the companionway? Why would the same designer put the main electric control panel on a totally different position? As it was done on the Beneteau 45.

I think it´s crazy: Upon taking a look onto the charts, the skipper must reach through all of the length of the saloon to get to his chart table, mounted on the bulkhead to the fore peak, reach back all the way to the companionway. To check for electric status, the panel is mounted farther back in the saloon, so he has to get up again from his navigation station. I just couldn´t grasp it. The only reason why one would design such a thing is – skipper´s chart work isn´t considered important anymore.

Besides, standing in the fore cabin door looking aft I again couldn´t get a sense of being inside a 45 feet ship: The saloon really does not mediate a roomy spacious sensation: More to the contrary, I had a feeling of being somewhat constricted.

The aft cabins of the Beneteau 45 are huge. The berths, or should I say beds, offering more than enough space to find a good night´s sleep. Again, huge portholes allow a wide view to the sides of the freeboard though I would have gone for more (yet apparently smaller) portholes which could be therefore opened for fresh air. Again, some of the practical solutions appeared cheaply done, such as the sheathing of the hull which is simply a thin bent board screwed to the boat. Some of the other fittings such as stowage and cupboards did seem to be made with good quality joinery as well.

At last I found the owner´s cabin in the fore peak emptied of other guests and took my chance. What I really like is the huge, partially foldable forward bulkhead which will open up more than just a narrow door to the fore cabin but a wide passage – thus creating a roomier feeling. This was seen also on the Dufour Grand Large 310 I´ve visited some weeks ago, where this effect can be seen in a very spectacular way . In the Beneteau 45 the fore cabin is really more than appropriate: The master bed is huge, as well as the portholes again. Enough stowage available in two big cabinets as well. All in all, I must rather say, this boats didn´t appeal to me at all. I just couldn´t get warm with her internal layout, the floor plan seemed sometimes crazy (see navigation station), color scheme and some of the practical solution created a cheap sensation.

Cruiser-Racer with Kitchen-Feeling: Elan S4

Elan yachts are known for their sailing characteristics, renowned for speed and synonymous for cruiser-racer with style. Upon entering the stand of the S4 I took some time to admire the lines of her hull: Sleek, aggressive with distinctive chines, a racy bulb keel and twin rudders create a sensation of speed and power. That boat really lives up to the brand value and I was excited to be allowed to inspect her interior. How is an Elan S4 sailing yacht appearing from the inside? Racer-cruising with style – let´s check it out.

Again, I must admit, I was partially disappointed. I instantly got the feeling of being in a kitchen. There are cupboards installed all over the saloon circumferentially, white colored with a decorative band of reflecting mirror-like metal. That created a mixture of kitchen, medical practice and furniture store. I am sorry, but the choice for the saloon´s fabrics, colors and styling elements was a clear overshoot in my eyes: Too much of everything, too much of a medley of too many decorative things competing for the beholder´s eyes. Which is a pity, because the floor plan is a classic. I hope owners can configure their Elan S4 boats in way that the saloon could mediate a cleaner, homogenous and more relaxing atmosphere!

On the other hand, a definite plus on the Elan S4 is the huge galley. Rounded edges, a nice arrangement of different materials and the joinery did satisfy my demand instantly, more so, it made up partially for the jumbo-mumbo of designs of the saloon. The galley offers more than enough space. Compared to the Beneteau 51 I did had the feeling that although being some 10 feet shorter and therefore having less space available, Elan´s designers managed to get out a lot more spaciousness than their French counterparts.

The rear cabin was a bit of a disappointment on the other side. Though wooden veneers have been installed plenty of and made a nice impression, I was puzzled of the Elan S4 offering so much ordinary shelves instead of proper cabinets. I would assume this boat going at a high speed with quite some heeling: Open shelves, especially these really big ones, won´t hold to their contents. It´s frustrating to find one´s stuff spread over the whole cabin after a day of rocky sailing. On the other hand, size of the berths seemed adequate, same as to her opening hatches for fresh air.

All in all I must admit, the interior design solutions seen on the Elan S4 couldn´t really win my enthusiasm. Though the floor plan and overall layout did really appeal to my eyes, there have been too much decorative elements competing with each other, too many lines running through one´s sight creating an unsteady feeling. I don´t think I could calm down and really relax in an Elan saloon. A big minus are the huge useless shelves, I hope that there is an extra package to order proper cabinets.

Nevertheless, I´d love to sail one of these. Standing in the cockpit I suddenly realized that these boats are primarily made for sailing and that was the feeling I instantly got by placing myself at the helm. There is no decking or teak applications to be seen anyhow (though it certainly is part of the extra packages offered), multiple stands for safe and sound foothold whilst sailing and the large mainsheet traveller right across the cockpit floor talks business.

A real Highlight: The new Dehler 34

That was a real hype in all those print magazines and high glossy boating gazettes when Dehler launched its latest model: “A Legend is reborn”, as it was said. And right they are, expectations are high since the old Dehler 34 has been one of the most successful and trend-setting yachts for the your Dehler company back in the good old days. Looking at her from the outside I instantly liked her clean sleek lines. I was very keen on inspecting her interiors.

The same tension I did have upon getting to see the new Dehler 42 cruiser-racer some weeks ago (read that particular article here ): Dehler is part of the large Hanse Group but wants to retain a certain stand-alone character. And the big company is good advised to let them have – Dehler has a reputation of making very well sailing fast yachts with an emphasis on good quality when it comes to internal fittings.

Looking at her stern it seems a bit odd: When all the others, even Beneteau, are springing for “modern” chines and twin rudders, the racy Dehler does not feature any of them. There´s a huge single rudder, a somewhat ordinary keel – though a bit deeper than normal cruising keels – and that´s it. I wonder what sailing this boat might be like. So I climbed the stand and asked for admission to enter the boat, which was granted.

Classy. That´s what came into my mind when I set foot on her deck. Noble teak decking in the cockpit, a huge mainsheet traveller on the floor right before the notorious double wheel helming station. All seemed right and made by people who know what they are doing. Nice job. This was the first cockpit I really liked on this fair and suddenly a smile shooed over my face. Let´s go inside …

Wow, classy again! Her saloon is just wonderful. There´s lot of wooden fittings, nicely done and I really liked the fabric of the cushion. Colors are in harmony with each other, there´s no frills around and everything is done with an emphasis on creating a real ship-like atmosphere. No time to think back of the overdressed Elan or the wannabe Jeanneau. This is real good interior design!

The saloon is classic: Two settees on either side, a large foldable dining table in the middle. That´s it. The Dehler 34 has a maximum beam of just 3.60 meters. A slim boat. We remember: She was built to sail fast. And that’s why there´s no U-settee or other gadgets in the saloon. I can vividly envision a crew taking a pause down below deck from an exhausting sailing day out offshore.

Upon entering by coming down the companionway the sailor will find a small L-galley to the starboard side, vis-à-vis a head with a separated shower. The saloon features a small navigation station facing aft which I guess is a concession to modern sailing yacht interior design. I took a seat and tried to imagine myself doing chartwork at this chart table, which is possible, but could be a bit tricky since the worktop is rather small for my taste. Again, big enough navigation stations are a thing of the past, I guess, after most of the sailors will stick to their huge multicolored digital displays. What I really liked at the Dehler 34 navigation station was the rounded cover for VHF and electric switch panel. By the way, all the rounded headrests, reminding me of a private jet or something, are folding offering a lot of stowage here.

Aft cabin was huge for a 34 feet boat. I even felt kind of bigger than that of the Beneteau some 10 feet larger, but that might be a fallacy. What is fact is that – also contrary to the Beneteau – the quality of craftsmanship seemed a lot higher in the Dehler. Veneers made of nice material, and a real cabinet with closing doors did appeal to me very much.

Somewhat cheap, I must admit, the owner´s cabin. Not so much due to her size – the fore peak is slim – bit due to the fact that white plastic surfaces dominate this cabin. I would have gone for a wooden panel or kind of veneer for covering the collision bulkhead, maybe added a mirror or something to optically widen the feeling of space in this cabin.

Nevertheless, I loved the Dehler 34. She might be quite a stormy sailing yacht, I just don´t know, but as her bigger sister, the Dehler 42, was already announcing, Dehler´s interior designers have made a wonderful job in creating a very likable saloon, minor drawbacks in the fore cabin put aside.

Space. Ship. The Dufour Grand Large 460

Since I got the chance to inspect the Grand Large 310 (read the article here ) in Germany I got more and more interested in this French brand. Dufour is a widely known name in Germany, but few are to be seen at the jetties and it seems that most sailors I know don´t really have a clue what a Dufour is all about. And yet, Dufour is building sailing yachts since more than 52 years and the boats bear an image of being good responding, fast boats with an emphasis on luxurious travel. Here we go – the Grand Large 460.

Her hull is indeed one of the biggest boats to be presented at the Interboot and as I roamed her rudder below the waterline I noticed her flat bottom and sleek lines. Made for speed? I climbed the stairs and had to wait some minutes to be let inside since Dufour´s stand was funnily enough crowded with people. But when I was granted entry and I once got down below deck, I must admit, I couldn´t barely find words. This is just w-o-w.

First of all, the saloon was that spacious, that I was climbing out of the boat instantly and checked for the boat´s size. Just to be sure: This was a 46 feet yacht, having nearly exactly the size of the Beneteau 45 and yet the feeling of space inside the cabin was so much greater. Is it? The Grand Large has a max beam of 4.50 meters. So that´s exactly the same available space, yet they can squeeze out so much more room. The Dufour greeted me with a dancehall-like space upon arriving in her majestic main saloon. But despite the roomy feeling, it offered a lot more.

Floor plan of the saloon just seems to be classic – a large L-settee on the starboard site faced by a 2-person settee vis-à-vis. But let´s look at the details: The large dining table isn´t foldable. Why? There´s so much space available. A stool that could accommodate 2 people in front of the table. I don´t know if I would like the stool to have a back rest, since without it one could use it for both sitting at the table and just taking a seat “by the way” facing the other settee in a short pause. What really sets the Dufour Grand Large 460 apart from all the other boats I´ve seen so far is the galley. It´s just awesome.

The galley is divided from the “living room” and divided in itself. To the port side all of the main working stuff is situated: Sink, Stove with oven, Worktop and lots of stowage as well as cupboards mounted at eye-level for best reach. By the way: That reminded me of the Elan S4´s cupboards and showed yet how to make it a lot better. The cupboards are perfectly blending in the overall design concept of the boat just neatly. Right in the corner of the galley a large fridge is mounted. But that´s not enough …

… because right on the other side of the galley, starboard, there´s another part of it, featuring no less than two more fridges for beverages, another large worktop and stowage as well. This secondary galley is again separated from the “living area” by a stand, I suppose this is where a retractable TFT could be mounted (which was not in the boat I visited). Okay, that´s a lot of galley stuff here, and one could argue that a retractable TFT as well as all the integrated LED-lighting is a lot of bells and whistles. Well – it is indeed. But you know what? That was the first boat that was living up to its promise of travelling “in style”. Lots of it. Lots of it I was seeking to no avail in the Beneteau.

But the Grand Large appears to be a real sailing ship too. Dufour yachts have the reputation of not just being nice for the mooring party at the Saint Tropez jetty but of being quite capable sailing boats. An indication is the first real practical solution for the navigator: The chart table and navigation station has been done with care. Again, the chart table didn´t had the size I would wish it has, but it is adjustable to heeling, which can be a great plus offshore. Main switch panel and VHF are – of course – within reach. Best thing: If the sailor has no need for the navigation station, it can be moved away completely. The table can be moved aft as it rests on kind of rails, as well as the small navigator´s stool, that will go forward. This way, the settee becomes even longer.

All cabins of the Grand Large 460 offer more than enough space as well as stowage – both cupboards, shelves and cabinets. The bathrooms (and I´d like to call it bathroom, not head) are again huge and seem to be made with great care for craftsmanship and choice of material. The berths, or let´s name it: Beds, are long and wide enough even for tall people, I particularly liked the owner´s cabin of the Dufour. Everything is covered with wooden panels, there are shelves all around for the small stuff, cupboards and cabinets overhead and to both sides of the entry door. A mirror at the collision bulkhead creates visual space. Bravo!

I´d like to see that boat move under sails. Maybe that´s something I am going to do next season, as this boat is really an interesting one. Concerning maneuverability, Dufour seems to be putting forward a new technique called Jet Thruster which basically works by pumping water through a throttle to create thrust for maneuvering. Smaller system, no water intake (and all that stuff floating with it) like with the old thruster systems and a steady stream of water to create constant thrust. Interesting.

All in all, the Grand Large 460 was a very interesting boat and one of the most beautiful in terms of design. I personally would let away all those bling bling LED and other “luxurious” parts but floor plan and the outcome of designing that boat and making the most of the available space is just awesome. Designers have made a marvelous job in designing this sailing yacht, indeed.

More Boats and Interior Designs in the upcoming article

That´s it for now as a single text would be too much for you to read through. Within the next week, Part 2 of my Interboot impressions will feature Jeannaeu, Hallberg-Rassy, Dragonfly and Schöchl Sunbeam. As well as a small boat made by a virtually unknown yard.

Klick here for Part 2.

Interested in sailboat interior design? Here´s a visit on the Hallberg-Rassy 412 and 43 .

Another dream yacht – the Pogo 12.50 : Fast as hell and quite something different.

Design and seaworthiness? Read more about this one here .

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Life on the ocean wave: why architects are drawn to boats

18 April 2019 By Edwin Heathcote Essays

Modernist architects found inspiration in early 20th-century liners, translating nautical symbolism to their buildings

There is no modern architecture without boats.  This might not be true, but you could make a case for it.  From the pointed prows of the Chilehaus and the Expressionist buildings of the port of Hamburg, to the white walls and ribbon windows of the Villa Savoye, right through to the white sails of the Sydney Opera House and the metallic glint of the Bilbao Guggenheim, the history of Modernism represents a kind of longing gaze at the opportunities and sheer style of nautical design. The fetishisation of boats is right there in the Modernist bible, Corb’s Towards a New Architecture . The phrase ‘A house is a machine for living in’ appears in the chapter ‘Eyes which do not see’, a pompous treatise on the perversion of ‘style’ in architecture and one in which, Dada-like, photos of liners are juxtaposed with a text which bears very little reference to boats. One illustration shows a collage of the great monuments of Paris, Notre-Dame, the Arc de Triomphe and the Palais Garnier opera house superimposed on a silhouette of The Cunarder liner. The implication is that these great ships have obviated the need for monuments, they have overtaken them and have become the default monuments of modernity. The use of a liner beside a skyscraper became a dimensional trope, like the English saying something is the size of Wales or a double-decker bus. When Hans Hollein collaged an aircraft carrier onto an agricultural landscape (‘Everything is Architecture’) or when Asmund Havsteen-Mikkelsen displayed a replica of the Villa Savoye semi-submerged in a Danish fjord, they were playing with these associations, absurd, surreal and yet clearly a pivotal part of the cultural consciousness – as are the studio sets for Titanic or The Poseidon Adventure .  

1930s poster for Cunard Line showing the diverse internal spaces of a luxury liner in cross section

1930s poster for Cunard Line showing the diverse internal spaces of a luxury liner in cross section. Image courtesy of Shawshots / Alamy

Like so many architects, Corb was fascinated by the idea of New York in which the great liners docked as horizontal analogues of the skyscrapers. The Bauhaus was similarly infected with nautical symbolism, what else are those balconies so brilliantly photographed by Lucia Moholy other than maritime metaphors? Those white-painted pipe railings became the bars containing Modernism, a nautical corral appearing everywhere from the British seaside to Miami, Tel Aviv and South Africa. 

Nautical motifs visible in the studio wing balcony of Walter Gropius’s Bauhaus Building, Dessau, 1925-26

Modernist architects were attempting to escape the tethers, the confines of history and place and, in the great liners of the early 20th century, they found their inspiration. The design of ships was driven (supposedly) by function and not tradition. Those pilotis, prows and sun decks, the curving, streamlined glass of Mendelsohn’s De La Warr Pavilion in Bexhill or the access decks of apartment blocks, they all spoke of a desire to float away from context, to eschew the ground plane in favour of something less fixed.  

It went the other way too. Architects engaged with the interiors of cruise liners as the apex of modern luxury and cosmopolitan chic (those interiors were then miraculously detached from function). Hollywood had created a global industry of aspiration in which sumptuous interiors could travel effortlessly from screen to screen just as liners floated from Hamburg, Liverpool or Southampton to New York or Cape Town. Architecture was uprooted and became a travelling spectacle, interior as globalised consumable.

The liner arguably presented an opportunity to create the first real total work of art of the modern age. The idea of an opera may have been a foundational Gesamtkunstwerk – but it was fake, a set, a fantasy. A cathedral was lovely, but bound to history and superstition. The liner combined elements of those fantasies to create a vision of floating luxury tied back to reality by the industrial language of steel and rivets, funnels, smoke and chains and the smell of coal and engine oil. It was design with the masculinity of engineering rather than Rococo flourishes of gilded plaster cherubs.

SS Normandie’s Art Deco swimming pool

SS Normandie’s Art Deco swimming pool. Courtesy of Hamon

The liner came with its own world of posters and products, the cutlery and the menus, the graphics, the marketing, the image. Intricate models of ships became an art form in their own right, scale melted away, the tiny and the vast, the intricate and the sublime. Every component of the liner – the propeller, the ballroom stairs, the bridge, the engine – was a feat of engineering, a sculpture, a surreal component of a Dada collage. 

after the Pompidou’s eccentric colourful pipes, the then-named Richard Rogers Partnership incorporated red and blue ventilation funnels on the design for 88 Wood Street, 1990-99

So the most commercially successful architects of the age gravitated to the boats. Mewes & Davis segued seamlessly from the Ritz to Cunard’s Franconia and Laconia , TE Collcutt went from the Savoy Hotel to working for P&O, Bruno Paul worked on the interiors for a Norddeutscher Lloyd ocean liner at the same time as designing tram cars and a model Modernist house for the Deutsche Werkbund. Meanwhile, Hitler’s favourite architect, Paul Ludwig Troost, designed the miserable Bremen interiors for Norddeutscher Lloyd.

The Normandie (1931, but launched in 1935) was, perhaps, the perfect piece of 20th-century design, a sumptuous cocktail of decorative art, furniture, interiors, streamlining and accessories, everything from tourist posters to flatware. While the sleekly Art Deco Normandie was being fitted out, the world-bestriding Modernist architects and planners of CIAM 4 cruised from Marseille to Athens on the (slightly shabby-looking) SS Patris discussing ‘The Functional City’ (while taking in the sights of old Europe’s least functional monuments), disembarking with a draft of the Athens Charter.  

SS Normandie, looking down from the sun deck of cabin class c1935

SS Normandie, looking down from the sun deck of cabin class c1935. Image courtesy of Byron Company / Museum of the City of New York

Boats became embroiled in politics, literal flagships for unsavoury regimes, imperialists, fascists, militarists and the rest. They were always only a ripple away from being requisitioned as troop or military hospital ships, or POW carriers.  They were the military industrial complex made physical, their manufacture a source not only of national pride but of keeping a skilled well-paid workforce out of the Depression.  

After the Second World War, the liners drifted back into the luxury sector. Gio Ponti revisited and embellished the interiors of the Conte Biancamano and the Conte Grande and made a name for making the chicest maritime interiors, Misha Black worked with the Orient Line, Casson Conder designed Canberra and the QE2 became the nautical twin of Concorde, a moment of real fizz for a slow-to-develop British Modernism. That former British flagship is now docked in Dubai, a slightly strange floating hotel, and its original, sparse 1969 interiors – ripped out in favour of the stolid, corporate 1980s German fit-out – have now been eccentrically and lovingly restored. The old first-class lounge with its 2001: A Space Odyssey- style disco floor, slender mushroom columns and illuminated ceiling is still pretty cool. It is a rare, almost magical survivor in a ruthless industry.    

AR June 1969 cover of a special issue devoted to the design of the QE2

The language of nautical engineering continued to pervade architecture, from Prouvé’s portholes to Grimshaw’s guy ropes, from Rogers’ cartoonish ventilation funnels at the Pompidou, Lloyd’s and the Cheesegrater to the maritime-type stairs on the Southbank Centre. High-Tech, in particular, seems to have preserved the nautical fetish. The reason, I think, is the idea that boats have to work, they have to be perfect or else they will fail (unlike buildings, which can conceal and bodge a remarkable degree of failure), and by imbibing the visual language of the nautical architecture will somehow, by osmosis, become more perfect and functional. Think of Future Systems and Jan Kaplicky’s obsession with monocoque shells and marine fittings (even using metal cleats as pull handles in his early buildings and the practice’s Notting Hill office).  

It’s an idea borne out in architects’ own attempts to design boats, and to design boats they own. Architects of a certain type love to sail. Renzo Piano, Richard MacCormac, David Chipperfield, Frank Gehry, Greg Lynn and countless others sail out into the sea to salve their souls. Piano and Gehry have designed their own boats, the latter’s ( Foggy , a play on Frank O Gehry’s initials), is a 74ft sailing yacht, sleek and simple, very unlike the architect’s Baroque buildings. Lynn’s vessel is a racing yacht, a parametric design with two outrigger hulls joined by what look like buffalo horns.  

captain Renzo Piano sets sail in a wardrobe devoid of any design pretension

Zaha Hadid’s ‘superyacht’ is a latticed fruit tart version of her fluid buildings and certain, I’d suggest, to remain a concept. Norman Foster’s 40m Ocean Emerald looks a little cheesy, like a luxury superyacht caged in an over-protective shell clearly aimed at making the design coherent and streamlined, but succeeding in imprisoning it in inelegance. Piano’s design looks more convincing. The Genoan architect, whose buildings have arguably often been ruined by clunky marine metaphors, is a keen sailor (there is even an enigmatic early picture of him in a pirate costume sailing, oddly, in a repurposed wardrobe) and his interest shines through in a design both sleek and practical, unfettered by an obsession with making the yacht some kind of design product. His boat, the Kirribilli , has a hinged prow, which lifts up to reveal the anchor so nothing spoils the profile. It looks, to me, like the capsule-eating spaceship in You Only Live Twice , a hint of James Bond silliness and it is, surely, among the best things he has designed. Philippe Starck once designed a yacht with Steve Jobs, which looked, bizarrely, like a floating Corb villa. Jobs was, perhaps, lucky to die before he saw it. Should have asked Jony Ive.  

Hans Hollein, Aircraft Carrier City in Landscape, project, exterior perspective, 1964

Hans Hollein, Aircraft Carrier City in Landscape, project, exterior perspective, 1964. © Digital Image, the Museum of Modern Art, New York / Scala, Florence

The history of modern architecture is peppered with passionate sailors messing around in boats. Super-keen sailor Wells Coates was too far ahead of the market when he designed his elegant Wingsail catamaran in 1950. One of Louis Kahn’s odder efforts was the Point Counterpoint II, a shiny metal concert hall boat which seems under constant threat of scrapping. John Pawson designed the interiors for extremely handsome B60 Sloop .  

The aesthetic of the boat began as a visual metaphor for modernity, an architecture imitating the functionality and healthy-outdoor living of a boat with sun-decks and minimal cabins in which the dweller was free to escape the filth of the cities onto the open seas. You can see Mendelsohn’s De La Warr Pavilion and Wells Coates’ Embassy Court floating off into the English Channel just as you can understand Oscar Niemeyer’s Niterói art museum or Hadid’s Capital Hill house as a homage to a ship’s bridge. The ship represented freedom – from tradition and the street, from the constraints of brick or concrete, and from the fixity of the site. 

detail of Riveters from the ‘Shipbuilding on the Clyde’ series, Stanley Spencer, 1941

In the streamlining and the pointedness of the prow or the curve of a corner, it seemed that architecture could move through time as a boat sails through water, with a sense of urgency, the wind behind it, moving towards utopia. Perhaps, then, it’s ironic that the colossal cruise ships and warships of today look increasingly like the worst contemporary architecture. The megablocks moored in Venice and Miami despoil the city with their incongruous mass, an incursion of an unwelcome kind of super-modernity, which works through juxtaposition, just as did those diagrams in Corb’s book nearly a century ago. But they now serve to highlight the incongruities of globalisation. Warships, meanwhile, have taken on the bunker aesthetic of Paul Virilio and Claude Parent, the stealth angles and radar-avoiding crystalline form which seems a perversion of the German Expressionism of Hamburg’s Chilehaus, Gottfried Böhm’s concrete monoliths or Libeskind’s earlier, spikier work. Just look at the US Navy destroyer Michael Mansoor . They underline how architecture’s avant-gardes can be endlessly recycled for the wrong purposes.

Perhaps what was once a fetish, a hobby, will become an urgent necessity. The next instalment in architecture’s obsession with boats may well be hybrid. Arkup’s ‘livable yacht’ is a floating Miami Vice beach house, a fully functioning vessel with an engine, completely self-sufficient in power and with hydraulic legs that can anchor it to the seabed. The future may demand more than an aesthetic infatuation with the elegance of boats and the confronting of a reality of a flooded world.

Lead image: RMS Empress of Britain at John Brown & Co shipyard 1928-31, Clydebank, near Glasgow

This piece is featured in the AR April 2019 issue on Oceans – click  here  to purchase your copy today

Since 1896, The Architectural Review has scoured the globe for architecture that challenges and inspires. Buildings old and new are chosen as prisms through which arguments and broader narratives are constructed. In their fearless storytelling, independent critical voices explore the forces that shape the homes, cities and places we inhabit.

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Buyer's guide: How to create the ultimate superyacht art collection

Whether you want to commission new art pieces for your superyacht or keep existing works pristine, Claire Wrathall gives you the lowdown

"I don’t believe in art on the high seas,” art dealer and Hollywood producer Arne Glimcher once told me. The founder of Pace Gallery, which deals in works by the likes of Picasso and Rothko, and former owner of the 37-metre Luca Brenta -designed Vitters yacht Ghost , Glimcher loves sailing and art, but believes some passions are best kept separate. “It would have been dangerous to have works of art on board, absolutely irresponsible. I like to be able to have the hatches open and fresh air in the boat.”

Protect your art from salt, humidity and temperature extremes by displaying it in parts of the yacht where the elements can be shut out, however, and there’s no reason superyachts can’t be as safe as galleries. “If you’re inside and you don’t feel too cold or too hot, then the art will be fine too,” says London-based dealer Adrian Sassoon. Just as on land, the main problems are direct sunlight and clumsiness. The former will damage photographs, watercolours and other works on paper, though UV-resistant glass, blinds and judicious placement can mitigate this.

But there are many more robust media. With metalwork or ceramics, says Sassoon, “the work should retain the same strength and depth of colours it would have had when it left the kiln”. As to the risk of knocking something over, small sculptures and objets d’art may actually be safer on a yacht, because in a marine environment they are invariably stuck down with “museum glue” that adheres objects to surfaces to stop them shifting in a swell.

Perhaps it’s not surprising then that remarkable assemblages of art are kept aboard yachts to no detrimental effect. When in 2018 David Hockney’s acrylic-on-canvas Portrait of an Artist (Pool with Two Figures) sold for $90.3 million (£69m), at the time the most a work by a living artist had ever fetched, the fact that it had previously hung among a collection of valuable paintings on Aviva , the 68-metre superyacht belonging to the businessman Joe Lewis, had clearly done it no harm.

Some collectors commission boats to reflect their art. “I actually designed [ Sea Force One ] around my pieces,” the hedge fund manager Raffaele Costa told me of his 53-metre yacht, when she was refitted in 2013. “Art should be an integral part of any design.” Others customise their art to fit their yachts. The Hamburg-based art adviser Tilman Kriesel is a fund of such tales: the Rothko fixed horizontally rather than vertically as the artist intended; or, worse, the Takashi Murakami, likely to have been worth at least seven figures intact, that was cut to size to fit on a wall in a yacht’s beach club.

Too often decisions about the art are taken at the end of the process and not at the beginning, says Sassoon. “An art collection is naturally an accumulation, not the result of a single shopping trip. And variety is really important.” That said, “most commonly it’s the designers who end up choosing the artwork”, says  Selina McCabe, a partner at Winch Design . Buying or “commissioning pieces of art is an exciting part of the process”. Especially works for spaces that have been designed to be multifunctional, in which case “the art needs to be easily movable depending on how the space is used”, and appropriate wall finishes can be specified accordingly.

Others, like Rémi Tessier , designer of Nahlin and Vava II , insist contractually on oversight of the art lest an owner’s taste “ruin [my] reputation among art collectors. I would not work for a person who just put whatever on the wall.”

Mark Berryman , a specialist in contemporary yacht interiors , takes a more pragmatic view. “Personally, I absolutely love abstract art,” he says. “So whenever I’m designing, I always have in mind the art that I would put in there if it was my interior.” But there’s no second-guessing a client’s taste, and it may be that “what they’ve got in mind is something very classical, or a Klimt. It’s a personal taste until you broach the subject, it really is an unknown. We’ve done a couple of refits where the client has asked for landscapes and very representational work, and sometimes that just doesn’t sit well on a boat in the middle of the ocean. It can feel a little jarring.”

He, too, believes it is best to begin with the art. Too often it’s treated as an afterthought and left till the end of the process. “You can still make it work,” he says. “But it becomes much more difficult if you then decide to commission half a dozen pieces.”

When he designed the refit of Indian Empress (now H ), for example, “the client already had a lot of art on board, and it was great, but the interior was really shouting at it. They were completely different styles.” The art was modern and contemporary, much of it Indian. The yacht was very traditional. And the owner knew it wasn’t working. “He said. ‘You decide where it fits best, but I do want to use it all.’”

Berryman also points to the interiors of Mary-Jean II , which were to some extent influenced by its owner’s collection of pop art, notably Warhol. “We’d seen the collection in their houses and in storage, so we knew what they wanted to use and went for something very contemporary,” to showcase it the better.

But existing collections aren’t always suitable for yachts. “Steer clear of works incorporating ivory or coral or other natural materials on the CITES [Convention on International Trade in Endangered Species of Wild Fauna and Flora] endangered list,” warns Sassoon, because they may cause your captain grief as the yacht travels into certain jurisdictions and, worse, risk confiscation. So be wary of Damien Hirst’s butterfly collages and leave the Polly Morgan snakes at home. Works incorporating taxidermy, even seashells, can be a red flag to customs officials.

One way to obviate any such issue is commission the art from scratch, hence companies such as DKT Artworks . Founded by three art-school alumni and employing about 40 highly skilled craftspeople,  it creates and fabricates everything from mosaics to faux-art deco bas-reliefs, contemporary lightbox installations and trompe-l’oeil murals. Its work can be found on yachts such as DAR , Dilbar , Excellence , Here Comes the Sun , Kismet , Luna and Tis .

If you tire of them, you won’t easily  be able to sell them on the secondary market – but DKT Artworks’ carved and relief panels are, says marketing chief Guglielmo Carrozzo, “very popular at the moment, especially for staircases, [which are] one of the few places on a vessel where you can see what’s going on on different decks”. A bas-relief can be a way of bringing everything together, he says. Commissioning a work means it can not only reflect the owners’ taste, but be sized to fill a specific space.

The Czech glass and crystal design company Preciosa is another translator of ideas into fully realised statements of artistry. Take the 11.2-metre chandelier designed by Seattle-based Susan Young, to evoke bubbles rising to the surface, that it made for Aquila when the 85-metre yacht was refitted by Pendennis in 2016. Descending through four storeys through the yacht’s central spiral staircase, it incorporates more than 850 individually blown-glass pieces.

Few materials can conjure the idea of water as effectively as glass, hence the sculptures produced by Lasvit, another long-established Czech company. Its works can be found on superyachts such as the 77-metre Turquoise Go , for which Lasvit’s Katarína Kudějová Fulínová created an installation of 378 hand-blown crystal rods, each containing its own light source, that when illuminated conjure an image of undulating seagrass on the ceiling above. Inspired by nature but abstract in form, it’s a working light fitting, but also, she hopes, a creation that “opens space for our imagination and functions as a window into our subconscious”. And ultimately, isn’t that the purpose of art?

This feature is taken from the October 2020 issue of BOAT International. Get this magazine sent straight to your door, or subscribe and never miss an issue.

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With the Flow of my Life!

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Serge Vasilendiuc

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36 Facts About Khabarovsk

Written by Abigail Hadden

Modified & Updated: 27 Jul 2024

Reviewed by Sherman Smith

Khabarovsk is a fascinating city filled with rich history, vibrant culture, and breathtaking natural landscapes. Located in the Far East region of Russia, Khabarovsk is the administrative center of Khabarovsk Krai. With its intriguing past and flourishing present, it is a city that captures the imagination of both locals and tourists alike.

In this article, we will dive into 36 fascinating facts about Khabarovsk that will give you a deeper understanding of this captivating city. From its important role in the Russian Far East to its stunning architectural gems and delicious local cuisine, there is no shortage of interesting tidbits to uncover.

So, buckle up and get ready to explore the hidden gems and lesser-known details about Khabarovsk that will leave you amazed and eager to pack your bags for an adventure in this remarkable city.

Key Takeaways:

• Khabarovsk, the largest city in the Russian Far East, offers a diverse and vibrant cultural experience, with stunning natural landscapes and a warm, welcoming community.
• From the iconic Khabarovsk Bridge to the bustling Central Market, Khabarovsk is a city rich in history, art, and entertainment, making it a must-visit destination in the Russian Far East.

Khabarovsk is the largest city in the Russian Far East.

Khabarovsk is located on the banks of the Amur River and serves as an important economic and cultural center in the region.

The city was founded in 1858 by Yerofey Khabarov.

Yerofey Khabarov was a Russian explorer and adventurer who played a key role in the Russian exploration and colonization of the Far East.

Khabarovsk is named after its founder, Yerofey Khabarov.

The city was named to honor the pioneering spirit and contributions of Yerofey Khabarov.

The population of Khabarovsk is over 600,000 people.

With a diverse population, the city is home to people of various ethnicities, including Russians, Ukrainians, Koreans , and Chinese.

Khabarovsk experiences a humid continental climate.

The city has hot and humid summers, with temperatures reaching as high as 35 degrees Celsius, and cold winters, with temperatures dropping below freezing.

The Khabarovsk Krai Administrative Center is located in Khabarovsk.

Khabarovsk is the administrative center of the Khabarovsk Krai region and is responsible for governing the surrounding areas.

The Trans-Siberian Railway passes through Khabarovsk.

Khabarovsk is a major stop along the famous Trans-Siberian Railway, connecting Moscow with the Russian Far East, China, and beyond.

Khabarovsk is known for its stunning natural landscapes.

The city is surrounded by picturesque mountains, forests, and rivers, offering residents and visitors alike a variety of outdoor activities and breathtaking views.

The Khabarovsk Bridge is one of the city’s iconic landmarks.

Spanning the Amur River , the Khabarovsk Bridge is a symbol of the city’s connectivity and serves as a vital transportation link.

Khabarovsk is a major industrial and transportation hub.

The city is known for its manufacturing industries, including machinery, food processing, and timber, as well as its busy river port and international airport.

Khabarovsk is culturally diverse.

The city’s multicultural population has contributed to a rich tapestry of traditions, languages, and cuisines from different ethnic groups.

The Khabarovsk Regional Museum is a must-visit attraction.

Showcasing the history and culture of the region, the museum houses a vast collection of artifacts and exhibits.

Khabarovsk hosts the Amur Ice Hockey Club.

The local ice hockey team , known as the Amur Tigers, competes in the Kontinental Hockey League and has a passionate fan base.

The Khabarovsk Circus is famous for its spectacular performances.

Visitors can enjoy acrobatics, animal shows, and other dazzling acts at the city’s beloved circus.

The Lenin Stadium is a sports venue in Khabarovsk.

Named after the Russian revolutionary leader, the stadium hosts various sporting events, including football matches and athletics competitions.

Khabarovsk is home to several universities and educational institutions.

Students come from all over the country to study in Khabarovsk, contributing to the city’s vibrant academic community.

The Far Eastern State Technical University is located in Khabarovsk.

Known for its engineering and technical programs, the university plays a key role in shaping the region’s workforce.

Ice sculpting is a popular art form in Khabarovsk.

During the winter months, artists create intricate ice sculptures that attract locals and tourists alike.

The Khabarovsk Philharmonic Orchestra is renowned for its performances.

Music lovers can attend classical concerts and symphony performances at the city’s prestigious philharmonic hall.

The Khabarovsk Central Park is a favorite recreational spot.

The park offers beautiful gardens, walking paths, and amusement rides, providing a peaceful retreat for residents.

Khabarovsk has a thriving dining scene.

From traditional Russian cuisine to international flavors, the city boasts a wide range of restaurants and eateries to satisfy every palate.

The Khabarovsk State Puppet Theater entertains both young and old.

Families can enjoy captivating puppet shows and theatrical performances at this popular venue.

Khabarovsk celebrates the Dancer’s Day festival.

Every year on the second Saturday in August, the city comes alive with music, dance performances, and parades to honor the art of dance.

The Khabarovsk Drama Theater showcases a variety of dramatic productions.

The theater is known for its talented actors and captivating performances, attracting theater enthusiasts from near and far.

Khabarovsk has several beautiful Orthodox churches.

These architectural gems are not only places of worship but also important cultural and historical landmarks.

The Khabarovsk Regional Art Museum features works by local and international artists.

Art enthusiasts can explore a diverse collection of paintings, sculptures, and other artistic creations at this prestigious museum.

Khabarovsk has a vibrant nightlife scene.

The city offers a range of bars, clubs, and entertainment venues where locals and visitors can unwind and dance the night away.

The Khabarovsk Theater Square is a popular gathering place.

Lined with trees and adorned with statues, the square serves as a meeting point for friends and a venue for outdoor concerts and events.

Khabarovsk is a gateway to the Russian Far East.

The city’s strategic location makes it an ideal starting point for exploring the natural wonders and unique cultures of the region.

The Khabarovsk Regional Library is a treasure trove of knowledge.

With a vast collection of books, magazines, and digital resources, the library is a haven for bookworms and researchers.

Khabarovsk has a strong sports culture.

Residents actively participate in various sports and athletic activities , fostering a healthy and active lifestyle.

The Khabarovsk Local Lore Museum preserves the history of the city.

Visitors can delve into the past and learn about the city’s origins and development through interactive displays and exhibits.

The Khabarovsk Central Market is a bustling hub of commerce.

Here, locals can find fresh produce, delicious local delicacies, and a wide variety of goods and products.

Khabarovsk is famous for its vibrant festivals and events.

Throughout the year, the city hosts a range of celebrations, including the Khabarovsk City Day and the Far Eastern Crafts Fair .

The Khabarovsk Botanical Garden is a tranquil oasis.

Nature enthusiasts can explore the lush greenery, beautiful flowers, and rare plant species within this peaceful garden.

The people of Khabarovsk are known for their warm hospitality.

Visitors to the city are greeted with open arms and a friendly smile, making them feel welcome and at home.

In conclusion, Khabarovsk is a fascinating city that offers a rich blend of history, culture, and natural beauty. From its picturesque waterfront and parks to its impressive landmarks and museums, there is much to explore and discover in this vibrant Russian city. Whether you’re interested in learning about its intriguing past, indulging in local cuisine, or simply enjoying the stunning surroundings , Khabarovsk has something to offer for everyone. So, why not plan a visit and immerse yourself in the charm and allure of this unique destination?

1. Where is Khabarovsk located?

Khabarovsk is located in the Far Eastern Federal District of Russia , near the border with China.

2. What is the best time to visit Khabarovsk?

The best time to visit Khabarovsk is during the summer months of June to August when the weather is pleasant and the city comes alive with festivals and outdoor activities.

3. How can I get to Khabarovsk?

Khabarovsk is well-connected by air, rail, and road. You can reach the city by taking a flight to Khabarovsk Novy Airport or by train from major Russian cities like Moscow and Vladivostok .

4. What are some must-visit attractions in Khabarovsk?

Some must-visit attractions in Khabarovsk include Khabarovsk Krai Museum, Lenin Square, Amur Cliff, and Muravyov-Amursky Street.

5. Is Khabarovsk a safe city for tourists?

Khabarovsk is generally considered safe for tourists. However, it is always advisable to take usual safety precautions and be aware of your surroundings, especially in crowded areas.

6. Are there any outdoor activities in Khabarovsk?

Yes, Khabarovsk offers plenty of outdoor activities such as boat trips along the Amur River, hiking in the nearby national parks, and enjoying picnics in the city’s beautiful parks and gardens.

7. Is English widely spoken in Khabarovsk?

English is not widely spoken in Khabarovsk, but you can usually find English-speaking staff at major tourist attractions, hotels, and some restaurants.

8. Are there any local specialties to try in Khabarovsk?

Yes, Khabarovsk is known for its delicious local cuisine. Some popular local specialties include ukha (fish soup), pelmeni (dumplings), and vareniki (stuffed dumplings).

9. Can I use credit cards in Khabarovsk?

Credit cards are widely accepted in major establishments such as hotels, restaurants, and shops. However, it is always advisable to carry some cash for smaller vendors and local markets.

10. Are there any day trips or excursions from Khabarovsk?

Yes, there are several day trips and excursions you can take from Khabarovsk, such as visiting the Sikhote-Alin Reserve, exploring the historic city of Blagoveshchensk, or taking a boat tour to the Bolshoi Ussuriysky Island.

Khabarovsk's captivating history, cultural diversity, and natural beauty make it a truly unique destination. From its vibrant sports scene, including the local football club , to the fascinating Negidal people who call the region home, there's always more to explore. Don't miss the chance to learn about Komsomolsk-na-Amure, another city in the Khabarovsk Krai with its own set of intriguing facts and stories.

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