vendredi 25 juillet 2014





For the first time, the race will be sailed by a one-design. 

The Volvo One-Design has been designed by Farr Yacht Design.

This was decided in response to concerns about safety and cost.  

©François Chevalier2014

VOLVO OCEAN RACE - YACHT DRAWINGS - DESIGN EVOLUTION - 2001-2002, 2005-2006 & 2011-2012

April 17th Updated


Evolution of the Volvo yacht designs since 10 years !

The authors wish sincerely thank Donan Raven for his kind translation. Please have a look on his blog:

nuttyrave's sailing trivia

It's far better than my "Frankenstein" English! ;-) Thank you my friend! Jacques Taglang...

To carry out these lines plans, which I drew on tracing paper, I observed the hulls in build or ex-works, using their cradles as a source at times, and all the while bearing in mind the personalities and intentions of the yacht designers who had created them and especially in strict observation of the relevant rating rules. Thus I was able to draw them fairly accurately. As soon as the sailing boats received their keels, rudders and centerboards, I was able to finalise the plans for the 2001, 2005 and 2011 editions of the Volvo Ocean Race.


In 2001, the new rating rule which defined the VO60 authorised carbonfiber rigging, which gave real oompff to the yachts and profoundly changed their behaviour.

Out of eight candidates, six came from Farr Design: Assa AbloyIllbruckNews CorporationTeam SEB and Team Tyco. The team at Nautor Challenge ordered two boats, amongst which one, Amer Sport Two, was designed by Bruce Farr himself, and the other, Amer Sport One, was designed by Germán Frers, Jr., AKA “Mani Frers“. Skipper Grant Dalton held back his choise until the very last moment, when he left the Farr yacht to Lisa McDonald's all-female crew. The eighth yacht was Norwegian entry Djuice Dragons designed by Laurie Davidson.

What stands out distinctively today is the narrow beam at the waterline on the one hand, and the hollow shape of the hulls on the other. Indeed, the three designers created narrow hulls, with as much external ballast as possible, with a tapered chine-bilge, as required by the rating rule, at broadest section of the yacht.

According to Bruce Farr, a yacht must be a skimming dish designed in compliance with the rating rule. His hulls feature angular lines, rather than flowing from a free hand: the forward sections are cut into an arrowhead along a plane that follows the deck from the bow to the mast. Then comes a 50cm vertical section, which is parallel on either side and extends far aft. The final angle is featured on the topsides, starting at a 45° angle from the bottom of the keel until the chain girth measurement. The cut extends all the way to the transom.

Laurie Davidson favoured safety instead and created comprehensively buoyant forward sections, though this penalised performance because it increased developable surface. The fin of Djuice's keel seems to develop greater area than other contenders.

Mani Frers' design displays greater stiffness, with wider topsides, as well as a sharper bow. The fin of the keel, which is positioned slightly forward of the mast, favours upwind performance, although this makes the yacht chase a lot more downwind. Her sail plan is far back, and the mast is close to amidships.

It is interesting to note that all ballast has been centred down the waterline, so the centre of buoyancy is located similarly on a

Incidentally, the Farr yachts took both first and second place, and Laurie Davidson had to make do with sixth place, though taking victory in the final leg.


For the next edition, the Volvo Ocean Race introduced the new VO70 rule. Longer, lighter, with greater sail spread, a canting keel and the choice of twin rudders; these yachts inherited from improvements developed in the America's Cup, the TP52 as well as the IMOCA circuits.

Juan Kouyoumdjian was the champion in this competition, his ABN Amro One taking 16 out 22 races and his ABN Amro Two establishing a new 24-hour distance record. Bruce Farr's four VO70s Pirates of the CaribbeanBrasil 1Ericsson and Movistar took up the rankings in the middle of the fleet and the Australian entry Brunel, designed by Don Jones, finished in the last place.

Juan K's designs exploited every loophole in the rating rule, creating a larger, stiffer yacht, with a very sharp wave-piercing bow, a canting keel swinging on a hinge inside the hull, increasing stiffness further in upwind conditions, a skimming hull shape in after sections, deep daggerboards, lengthier keel with a narrower section. With more power and capable of planing extensively, these hulls established themselves as the fastest and announced a new trend.

Bruce Farr sought a fine and balanced design, with a rudder in the centreline of the yacht.

As for Don Jones, serving a project with limited funds, he created a more conventional yacht, with a round and wide hull, rounded forward sections, and with a very forward mast and a centerboard more forward still, and featuring a cockpit as way aft as possible.


©François Chevalier 2012

did not have the opportunity to finalise the plans that I had prepared for the 2008-2009 edition, because no magazine expressed an interest to publish the lines of all five naval architects.

For the 2011-12 edition, with three contending designers, Juan K designed half of the fleet: the American entry Puma skippered by Ken Read, the French entry Groupama skippered by Franck Cammas and the Spanish entry Telefónica skippered by Iker Martinez. Farr Yacht Design carried out the plans for Abu Dhabi and was also represented by the Chinese entry Sanya (formerly Telefónica Blue) skippered by Mike Sanderson, who won the 2006 edition of the Volvo Ocean Race. Finally, Marcelino Botin, renowned for his TP52s, drew the lines of Camper for Emirates Team New Zealand.

Surprisingly for this "box rule", the three designers have produced very different yachts. Marcelino Botin created a superb development of a TP52: narrow, extremely sleek lines with a very forward centre of gravity, beam kept back to three quarter of the boat's length and lowrise transom, huge centerboards aft of the mast, which is itself centred in the middle of yacht.

©François Chevalier 2012

Farr's design breaks away from all trends. Assuming that these yachts should plane at the slightest of breezes, but would stop brutally in short waves, their hulls should be developed to plane as early as possible, and heel when beating without too much chasing forward, in order to raise stiffness, resulting in Abu Dhabi's huge round and full bow, with a sharp cutwater and vertical topsides. Here maximum beam is reached amidships and carries all the way aft, waterline is wide and centered, lines are sleek yet smooth, wth fine and elaborate centerboards, almost vertical and nearly inline with the axis. The forward deck is very cambered and the coachroof extends into it in a completely flush fashion.

©François Chevalier 2012

Juan K has developed his previous lines and optimised on numerous advantages established in the previous edition which was won by the Swedish entry Ericsson 4. The elaborate lines are obvious in the forward sections where the chine bilge extends all the way to the bow, with flat bottoms immediately after the cutwater in order to guarantee planing and to separate from the axis of the yacht when heeling to increase stiffness. The bottom aft is shaped to espouse and lengthen the stern wave and the wake that defines critical speed. All these characteristics demonstrate stronger ability for speed than other competitors, and the three yachts designed by Juan K currently head the fleet in rankings. 

However, it is to be noted that the three designers have shared the following: using the maximum beam afforded by the rating rule and fashioning keels, rudders and centerboards of similar shape.

The above lines plans have drawn for French magazine Voiles & Voiliers, but not all have been published. The last three appeared in the latest issue for the month of May, alongside commentary from a few sailors.

With regards to the damages experienced in recent legs, it must be observed in humble truth that the latest generations of yachts and shapes of yachts are developed for formidable performance such that has never been witnessed before, so the sustained impacts into head seas has only increased the stress and strain on mechanical parts and the hull itself. It is to the credit of the teams ongoing yachts if they have sustained no breakage.

Congratulations must also be handed to the sailors who have resisted so much wash on deck and so much discomfort above as well as below decks!

lundi 7 juillet 2014



©François Chevalier, June 2014

Le nouveau AC62 n’est pas très impressionnant, il se fond entre les voiliers qui traversent les océans et les précédents multicoques de l’America’s Cup.

Peu voilé, il est à souhaiter que le lieu choisi ait suffisamment de vent pour que le catamaran atteigne des vitesses proches de celles des AC72. Cela dit, sur ses foils, il devrait, comme les Class C de la Little America’s Cup, tendre vers trois fois la vitesse du vent. Son poids minimum imposé, 4,1 tonnes, n’est pas vraiment léger, et le profil des éléments de l’aile, juste un grand volet arrière, et un flap sur l’arrière de l’élément principal n’est pas une nouveauté.

En voulant réduire les coûts, la règle a resserré les domaines de développement, sur les ailes comme sur les foils, ce qui ne veut pas dire qu’il ne faille pas chercher le petit plus qui fera la différence. Ce petit plus peut n’avoir pas de prix …

©François Chevalier, July 2014



Type : AC62, Catamaran à aile rigide
Longueur de la coque : 19 m
Longueur de la flottaison : 19 m
Bau : 11,75 m
Tirant d’eau : 4 m
Tirant d’air : 32,80 m
Déplacement : 4,1 t
Surface de voilure : 168,4 m2
Aile : 112 m²
Foc 1 : 37,85 m2
Foc 2 : 56,40 m2

mardi 8 avril 2014


The Impressionists and Yachting on the Seine – Paris to Deauville – Origins to 1894

©François Chevalier - Lézard, Caillebotte design, 1891

Contrary to public thought, French yachting was born on the inland waterways before establishing on the coasts. In this regard, Paris was one of the most important cradles of yachting - Boating appeared there circa 1800-1830, progressing downstream slowly over time.

Without delving into too much detail, the Impressionist movement took off in Normandy, in the area around Le Havre. Soon enough seascapes, riverscapes and boats became important subjects for the Impressionist painters. And they did not leave it at painting! In the latter part of the 19th century, they often engaged in sailing themselves along with other artists and writers. From Sunday boating to cruises, races, naval architecture and even shipbuilding, to some extent almost all of them were involved in yachting.

As key witnesses to the beginnings of yachting in France, the Impressionists have become an important point of interest to us in the last fifteen years. Carrying out our research as faithfully as for our previous works, especially America's Cup Yacht Designs, 1851-1986, we have decided to publish our findings in two to three years' time. Apart from the history, this work will feature the plans of the boats that the Impressionists sailed or imagined as well as their own masterpieces – some famous paintings and others less well known – in a substantial 800-page production of the same quality and format as our earliest works!

We shall return here regularly to inform you of our findings.

Yours faithfully,

François Chevalier & Jacques Taglang.