Creative Process Page 3

Creative Process

Part 3: It was ProNautic’s job to produce the joinery that would transform Marshall’s drawings—electronic and otherwise—into a real yacht interior.

By Capt. Bill Pike — September 2005


Photo: Neil Rabinowitz

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ProNautic Custom Yacht Interiors of Sydney, British Columbia, was the last major player Edson tapped for the project. It was ProNautic’s job to produce the joinery that would transform Marshall’s drawings—electronic and otherwise—into a real yacht interior. Edson took no chances on outcomes, however. Well before permanently installing furniture and bulkheads, he dictated that everything be mocked up at full-scale in plywood and assembled onboard.

The approach produced a dramatic save just before work began on the master stateroom. Although the layout looked fine on the computer, the mockup revealed there wasn’t enough space for it. The fix was drastic and expensive. The firewall separating the master from the engine room—an already fully bonded ten-inch-thick structural bulkhead comprised of multiple layers of sound- and vibration-attenuating loaded-vinyl foam, vacuum-bagged, glass-sandwiched Corecell, and swathes of pricey 3M Thinsulate—had to be cut out and shifted aft some 18 inches. “A major frustration,” Edson told me, “because it meant other stuff had to change, like engine placement, balance, much of the naval architecture, really.”

Motioning proudly, Edson led me into the whitish glow of the huge tent he’d been contemplating moments before and heartily introduced me to his lamination crew. The gesture was nearly as emblematic as the tent itself. If attempting to lead literally hundreds of employees, experts, and subcontractors toward a common goal sometimes made Edson just a tad anxious, it was pretty obvious the joy he took from the project more than compensated.

Over a hamburger that afternoon, Edson waxed poetic about the great things he was doing or going to do with the 85. Among them were the use of pricey Airex hull coring to boost damage resistance; the installation of clamshell-type “vectored cowl” exhaust ports on the hull bottom to divert exhaust laterally and nix backpressure problems, station-wagon effect, and vibration; and the incorporation of sound- and vibration-attenuating products and techniques that he hoped would make the 85 one of the quietest yachts afloat.

Some time later I sea trialed the prototype (“Dream Machine,” February 2005) and I’m here to tell ya, Edson made good on everything he said. And the performance of the $4.7-million boat that cost him approximately $7 million to design, tool, and build? Even with 30 employees onboard working on her final completion and a literal ton of tools, the 85 still ran like a scared, 31.4-mph rabbit.

Pacific Mariner ( (360) 466-1189.

Next page > Pacific Mariner 85 Photo Gallery > Page 1, 2, 3, 4

This article originally appeared in the October 2005 issue of Power & Motoryacht magazine.

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