118′ Wallypower

Exterior Design: Wally / Luca Bassani Design / Lazzarini Pickering / Stefano Pastrovich
Interior Design: Wally / Luca Bassani Design / Lazzarini Pickering / Wetzels Brown Partners
Naval Architecture: Wally / Intermarine
Shipyard: Wally
Photographer: Gilles Martin-Raget / Guido Grugnola

It took the courage of lions to pitch against many engineers who disapproved that knife blade thin bow, so unusual at that time. But I always agree with those who follow their dreams .

Stefano Pastrovich

In 2000, Stefano Pastrovich joined the Wally team to complete the design for the 118 Wallypower, the symbol which introduced Wally to the field of building motor powered vessels….Read More

Together with the Wally owner, Luca Bassani, and the rest of the team, he designed something which would remain over time an icon of architecture and nautical design.

It was a very courageous project, that pitched against many engineers who disapproved the knife blade thin bow which, now, everyone is building. Furthermore, the vessels is equipped with three turbines, like on airplanes, to push a yacht of that size with the highest speed possible.

Stefano supported Bassani’s dream to revive the pioneering spirit which existed in the ‘50s and which was fast disappearing in the modern age.

Sketches and construction

The 118 Wallypower was built by the Intermarine shipyard, which is known for the design and construction of minesweepers for the Italian navy. Ships built in fiberglass to resist the impact of the waves when mines are exploded. Intermarine was the right shipyard for building the structure of the 118 Wallypower, which would have to sail itself at 60knots, because they knew composite materials very well. If the shipyard was very expert in military building techniques, it was less used to the aesthetic details which characterized the Wally yachts.

Once I draw the external volumes, I moved to the shipyard for a whole year. The sketches were my principle system of communication with their own technical office, where the construction drawings were prepared. I made hundreds of sketches to explain my ideas, often with risky solutions outside my knowledge. The only way to know if my ideas would work was to put them to people who were more technical and had more experience than me. We designed everything, every single line, every single handling system, everything we thought it was worthwhile spending time on. Thinking back today, I believe that period was the perfect example of working for the real pleasure of creating something absolutely new and giving it everything I had to get there.

Stefano Pastrovich