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Space Yacht Celebrates 100th Release with New ‘A Sequence In Time’ Compilation

The third volume of A Sequence In Time marks a milestone for Space Yacht and features LUMBERJVCK, Vyhara, RANKZ, Kyral X Banko, and more.

Just a few short years ago, Space Yacht opened up a new chapter for the brand by launching a record label. Since then, Henry Lu and Rami Perlman have been a force to be reckoned with as the two continue to showcase their passion for supporting a wide range of genres and artists of all sizes through the imprint’s releases. Now, Space Yacht is celebrating its milestone hundredth release, and they’ve curated a hearty helping of bass for the third volume of A Sequence In Time .

Past iterations of A Sequence In Time have featured some seriously impressive tunes from dubstep, drum and bass, and trap artists, and the third in the series pulls no punches. DMTR and Skorpion lead the charge with plenty of drum and bass energy as “ You Got Me ” begins to fill speakers. The broken beat and flurry of chopped up vocals make this one stand tall as the two artists set the tone for what’s to come.

DEUCEZ delivers a dose of groovy dubstep on “ Higher ” that will have you wobbling along with its beat. But if 140 sounds are more up your alley, then A Sequence In Time Vol. 3 will satiate all of your cravings with the tunes from BASSGALAXY and Noiz-E-Boi , RANKZ , HMEWRK. , Vyhara , and Cavemen . All of these artists throw down some deep wubs that you can’t help but bop your head to.

As for some standouts, Kyral X Banko and Rivibes ‘ closing tune for the compilation, “ Control ,” features a sick lyrical flow that pairs perfectly with its subterranean bassline. LUMBERJVCK also shows off some impressive basslines with the ever-heavy “ TESLA ” and caps everything off by taking the reins of this edition’s mega mix to seamlessly showcase all the tracks.

Listen to A Sequence In Time Vol. 3 on Spotify or your preferred platform , and follow Space Yacht on social media for more releases and show announcements!

Stream A Sequence In Time Vol. 3 on Spotify:

A sequence in time vol. 3 – tracklist:.

• DMTR, Skorpion – You Got Me
• Noiz-E-Boi, BASSGALAXY – INTERFERENCE
• DEUCEZ – Higher
• RANZ – Want The Smoke
• HMEWRK. – Awaken
• ZCR, QL1X – Touch
• Vyhara – Fragment
• LUMBERJVCK – TESLA
• Cavemen – STMU
• Exxotik – Voltage
• Kyral X Banko, Rivibes – Control

Follow Space Yacht:

Website  |  Facebook  |  X  |  Instagram  |  SoundCloud  |  Twitch

Grant Gilmore

Grant Gilmore’s authoritative voice as a media professional lends credibility not common to EDM journalism. As the founder of EDM Identity he has effectively raised the bar on coverage of the past decade’s biggest youth culture phenomenon. After ten years of working for nonprofit organization Pro Player Foundation, Gilmore launched EDM Identity as a media outlet offering accurate informative coverage of the rave scene and electronic music as a whole. Although they cover comprehensive topic matter, they have taken special care in interviewing the likes of Armin van Buuren, Adventure Club, Gorgon City, Lane 8 and Afrojack. In addition to household names, they have also highlighted unsung heroes of the industry through their ID Spotlight segment. Whether he’s covering it or not, you can expect to find Grant Gilmore attending the next big electronic music event. To find out what’s next on his itinerary, follow him via the social links below.

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Happy birthday: Space Yacht celebrates six years [Q&A]

Los Angeles-based event and music promotion company Space Yacht recently celebrated its six-year anniversary with its first-ever Tech My House label compilation and a 15-hour livestream event that foregrounded a slew of ascendant house artists. Space Yacht was founded in 2015 by Henry Lu and Rami Perlman, who have since forged Space Yacht’s quest of “showcasing the next generation of dance music” into more than 150 shows, including event showcases at festivals such as Electric Daisy Carnival , Beyond Wonderland , Miami Music Week , SXSW , Coachella , and more. What started as a secret party occurring each Tuesday in Hollywood’s tiny Golden Box venue, Space Yacht has organically grown into a platform for the talents that Lu and Perlman believe in.

In commemoration of Space Yacht’s six-year anniversary came the label’s very first compilation, Tech My House Vol. 1 , which spanned 17 tracks from Mikey Barraeneche, Casmalia, Luke Andy, Qlank, Ocean Roulette, Ranger Trucco, SkiiTour, and many more. Space Yacht and Desert Hearts also collaborated on TECH MY HOUSE, a 15-hour livestream event that broadcast 18 DJ sets.

Dancing Astronaut  caught up with Lu and Perlman to gain insight on their Space Yacht journey, what they look for when signing tracks, and their future post-pandemic. Tech My House Vol. 1 and the interview can be found below.

How did you first become involved in dance music and how did this prompt your transition into curating your own events?

Perlman : “Dance music has always been a part of my life both as a fan and artist. I first started DJing back in college, in the early 2000’s, where I got heavily into house and drum ‘n’ bass. It wasn’t until years later that I got into events.

Henry and I met while working at a social media company, and we often worked late. I’d play him some demos of a new project I was producing, which eventually turned into LondonBridge, and we quickly realized that we were into similar styles of music. It was me wanting a place where I could perform, which then became the place for everyone to perform. The community vibe and opportunities within it became apparent quickly, and we nurtured it into where we are today. But all of this revolves first and foremost around our love for dance music and dance music culture.”

Lu : “In the beginning, I got involved as a student at UC San Diego volunteering at concerts and eventually became one of the coordinators for the big annual bash Sun God Festival (it was a huge school, so we planned our concert for 20,000 people every year). It was such a thrilling experience that I stuck around wanting to do more. Oddly enough, UC San Diego has some of the industry’s biggest power players as its alumni. 

Fast foward, I’m interning at Z-Trip’s management and Windish Agency (now Paradigm), all through connections I made at UCSD. Throughout all of these unpaid internships, I started multiple businesses of my own to sustain my lifestyle, and this is where I found my life calling—starting things from nothing and causing a ruckus.

Throwing events was just my manifestation of wanting to create something from nothing. It’s my way of thrill-seeking. It’s the most liberating feeling to work on my own terms at all times. In another life, Space Yacht totally could have been an app or tech platform. It feels strange to say this, but it’s not necessarily music or even events that I am primarily obsessed with. I’m obsessed with  creating . I just happen to love the music that I love, and when I met Rami, it was house music.”

Can you share some takeaways from your experience heading Space Yacht for the past six years?

Lu : “I’m absolutely blown away that an off-the-cuff idea we came up with became globally known and impactful across the industry. We never planned for this. We’ve learned an immense amount in the past six years, and the takeaway I’d like to share to the world is to just go for it. Obviously, come up with a plan and a fallback, but ultimately you will need to take action and follow through.”

Perlman : “My main takeaway is that consistency and quality are king. Just like a great restaurant, growing a brand is about providing the consumer with the best product possible, and being consistent with it—same goes for everything we do at Space Yacht.  Another takeaway is how strong and loyal our community is. The fact that we are still able to engage and even grow our brand in these crazy times is a testament to the love that people have for the brand and the culture. It’s truly humbling, and we don’t take it for granted.” 

What were some of the biggest challenges you faced when going about throwing events throughout the years and how were you able to overcome them?

Perlman : “One of the main challenges was always about answering the question ‘how do we keep it fresh?’ When we started, there were only a few parties going on, but over the past three years there has been an explosion of dance music events, both large and small. Since so many of the DJs live in LA, it was always a challenge to make sure our lineups were unique and featured both new artists and fan favorites. It always kept us on our toes. To this day, we have a high bar for who we book and why. Like our label, it always starts with the music.”

Lu : “Being able to focus in a sea of distraction has been a growing pain both for myself and Space Yacht as a whole. We’re pulled different directions at all times, and the thing that has helped us find peace has always been to think back to why it is that we’re here. Knowing what you want and what your mission is the key!”

Moving forward, how do you plan to overcome the live event-related obstacles introduced by the COVID-19 pandemic?

Lu : “I’m not sweating. The events will come back. Until then, we’re going to get good at all the things we’ve wanted to get good at. Instead of trying to expend our energy fighting the obstacle, we completely leaned into it.” 

Perlman : “To me, we are just scratching the surface of what Space Yacht could become. Before COVID, the entire identity of the brand revolved around events. Our curatorial voice was only represented in the lineups we put together. Now, we get to play in a bunch of different sandboxes, from signing records we love to creating clothing lines to livestreaming on Twitch to  producing NFT collections   All of these new disciplines are new ways for the brand of Space Yacht to be creatively expressed. A lot of our new business initiatives just started over the past 12 months. It’s exciting!”

At what moment or period of time did it become apparent that your brand was going to grow a lot more bigger than expected, and do you see another point in the future where that might happen again?

Lu : “At some point, folks started lining up around the block, and I had to turn town celebrity types at the door simply because I literally could not fit another person in the venue. My thought was ‘well, where do we go from here?'”

Perlman : “I think when we moved the party to Sound Nightclub in Hollywood is when it really started to explode. Sound is known as on of the best clubs in LA for underground dance music, and the team that runs the club is best in class (they run and book the Yuma tent at Coachella).

The combination of the club, our brand, and our fans was a perfect marriage. Word started to spread like wildfire after that. I think we are in our second or third phase of growth right now since we’ve had to move everything online. The funny thing is that we are streaming to way more people than could fit in the 600-capacity club, so in a sense, we are still growing even without live events.”

Will you aim to keep these events more intimate upon the return of in-person programming?

Lu : “Absolutely, yes. In fact, now that we don’t have the pressure of packing out clubs, our music programming lanes have opened up significantly. We now have time to listen to music that we wouldn’t have as DJ bookers and it’s already showing in our label signings. Our attitude towards music is that we are here as  scholars —there’s so much we don’t know, and it’s on us to see for ourselves. We simply share with the world all the things that excite us.”

Perlman : “Our brand is predicated on the idea of not sticking to one particular genre. House and bass genres are the most popular in our world, but we’ve been releasing drum ‘n’ bass records on the label and are planning a ton of niche compilations this year. I think we just follow the music that is interesting to us, and there are no rules when it comes to that. We can’t wait to get back to live events, but only when it’s safe to do so.”

What do you consistently look for when you’re listening to demos, looking for music to sign?

Perlman : “It’s always music first. It’s cool if someone has social media presence or things going on in their career, but we never prioritize that, even though we probably should. It’s always about the quality of the material.

One thing we do look for is a hook, whether it be a vocal or synthline. It has to be catchy and memorable. We think the TECH MY HOUSE  compilation set the bar really high, so we are becoming more and more particular about what we sign. There is so much good music out there!”

Lu : “The main signing criteria is that we light up and share the collective feeling that know exactly what to do with the piece of music to nurture it within our ecosystem. If we are struggling to find a vision for it, at least in terms of what we can do to help, it’s usually a no.”

What’s something you want new fans to keep in mind when they discover the artists who first got their start on your platform?

Perlman : “Remember to support these artists! It can be through a simple follow or sharing their track on social media, or donating when they play livestreams. Most of these people have day jobs and are trying to find their way. Any support you can give them is valuable.”

Lu : “Come curious! There’s just so much more we can do with a fan or attendee who’s genuinely open-minded.”

Now that you’re six years in, what are some of your goals for Space Yacht moving forward?

Perlman : “The growth of the label and apparel business are both really exciting. We’ve already signed the next six months of releases and are planning some massive compilations for the third and fourth quarters.

We are also super excited about the crypto-art NFT movement that we’ve been lucky to be a part of. Our first two collections  sold out in three minutes and people have been asking us to make more. A lot of people are just starting to find out about the space and huge artists like deadmau5 and 3LAU have already jumped into it. We see this as something that can intersect with the label as well as being its own thing. Our next crypto art drop is on Nifty Gateway on March 8, so look out for that!”

Lu : “We just started our Twitch and YouTube pages, and I can’t wait to hit our first few milestones. It’s going to help us reach a much more global audience once we get it together.”

Featured image: Martin Cabrera Lopez

Tags: henry lu , interview , label compilation , londonbridge , Q&A , Space Yacht , tech my house

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This New 95-Foot Superyacht Is Like an Open-Plan Loft on the Water

Design-wise, the princess x95 is a rule-breaker. it's not only open and spacious inside, but also has an explorer hull for long-distance cruising., julia zaltzman, julia zaltzman's most recent stories.

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Princess Yachts officially debuted its new X95 Monday on Facebook Live, a platform that has become a sign of these times—virtual launches, instead of real boats at boat shows. But the unusual design of the X-series’ flagship also signals changing times for Princess, showing a bolder, more creative period for the UK builder, which is now making new design rules instead of following them.

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The X95—the “X” unofficially standing for explorer—is not only a sea change for Princess, but also for the 100-foot segment of the superyacht world. Princess’s goals for the X95 were an “open concept” and supersized flybridge, so owners would have greater freedom for layout choices, increased living space and more amenities in a smaller hull.

“We pushed the design language forward on this design,” Antony Sheriff, Princess chairman, said during a press conference last Thursday. “This was never going to be a traditional boat, but we asked ourselves how we could push it forward as a new design and still have it recognizable as a Princess.”

The X-95 has the same interior volume as a 115-foot yacht. It reaches a top speed of 24 knots, but, at 10 knots, has a range of 2000 miles.  Princess Yachts

The Princess team, working with its longtime naval architect Bernard Olesinski and Italian design house Pininfarina, spent months hammering out the initial concept. “We had everyone in the room during design reviews and that collaboration really stretched where we wanted to take the boat,” says Sheriff. “We also went into a level of detail that is standard in the auto industry, but not in the boating world.”

The details, both large and small, included making sure that exterior surfaces like the arch on the flybridge reflected light normally in all conditions. “Details like that make a big difference,” says Sheriff. “If the surface reflected light oddly at sundown, for instance, it would make that part of the yacht look off.”

There were even larger modifications to the interior. The designers decided to remove an internal helm and instead made the helm on the top deck the primary station for driving the yacht.

The sky lounge on the yacht offers excellent visibility, not only through the side windows, but also in the front and rear. Having this much space on the upper deck is a highly unusual design for a yacht this size. 

“The midway helm works for some, but it positions quite a large cockpit on the main deck, often leaving a small technical space beneath the helm position,” Andy Lawrence, Princess’s director of design told Robb Report . “By deleting the lower helm, owners can now use the main deck without interruption.”

In other words, instead of having a steering station in the middle of the room, owners can turn the long, unbroken space into a master suite, library, or cinema, or anything else that they fancy. Lawrence says this “open concept” provides 80-foot-long views from the rear of the boat all the way through the salon, up to the bow. That sense of openness is the same as an urban loft, where internal walls do not distort the view. Combine the sweeping space with an open-plan galley, Lawrence says, and the design becomes very popular with American yachtsmen.

“They like their open kitchen arrangements and to have the crew involved with the daily workings of the boat,” he says.

Room With a View: By taking out the helm station on the second deck, Princess designers could add a full-beam master suite with no structural impediments.  Princess Yachts

Beyond open space, supersizing interior volume was also a major design goal. The 670-foot interior is actually a 40 percent increase on comparable sized yachts . It’s even 200 square feet larger than the interior on Princess’ 114-foot model.

“Because you don’t have that helm hanging through the middle, we can play with different configurations and look at different usages,” says Lawrence.

Other big changes on the X95 include the sky lounge, which has been relocated to the top deck to optimize views. The beach club area also has a lounge area and galley which can either be used as guest space or extra crew cabin. Customized steps that extend backwards were added to the stern to turn the area into a transformer platform.

The designers paid very close attention to details on this yacht, including how light reflected off exterior surfaces at different times of the day. 

“It’s the first time we’ve used this kind of mechanism and it was made fully bespoke by Opacmare for us,” says Lawrence. “It’s about five feet wider than the biggest one they make, so it was quite a piece of engineering—and probably took about as long to develop as the rest of the boat.”

Increased efficiencies were designed into the X95. Deck space was increased by 10 percent, thanks to the “super flybridge,” which, unlike conventional flybridge models, is one continuous level. The new hull design offers 15 percent increased efficiency while running.

The unusual configuration includes a large foredeck on the top level. 

Naval architect Olesinski’s wave-piercing bow “artificially extends the waterline length of the boat,” says Lawrence. “Combined with the shape of the hull, that’s what gives you the efficiency.”

The yacht will have a range of 2,000 miles at a 10-knot cruising speed, but it also reaches a highly respectable top end of 24 knots.

The first X95 has been delivered and the owners are enjoying a shakedown cruise in the Med. Annie Reed of the Princess Design Studio said so much open interior spaces allows owners many ways to configure the yacht. Hull number one has book shelves on the main deck so the owner can keep his prized library on board. By contrast, the second boat will have floor-to-ceiling windows to allow in more light. “It’s those kinds of requests that the Princess Design Studio works well with,” she said. “It’s part of our ability to understand different international lifestyles.”

The open galley area allows clear line of sight from the rear cockpit up to the forward section of the main deck.  Princess Yachts

Sheriff, who came to Princess after running automobile manufacturer McLaren, says an X80 will be next in its X series. “This product stands on its own feet,” he said “It’s a really compelling recipe—significantly more interior volume and extended range. This product is a very different option for our customers.”

“It’s always good to have someone coming from outside the industry with fresh eyes to just look at what you’re doing and ask questions,” says Lawrence, regarding Sheriff. “Why do you do it like that? Why do people use the flybridge in that manner? I think it was a result of those questions that pushed us to come up with this new concept.”

With ten X95 models sold to different owners around the world, it would seem that the theory is working.

Check out other images that reveal the details of the X95’s design.

All Images Courtesy of Princess Yachts

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First look at Sanlorenzo's ultra-private 44m superyacht La La Land

The first images of the 44-metre Sanlorenzo explorer La La Land (previously known as Project X-Space) have been released by her central agency for charter, IYC . Delivered this year as the first in the shipyard's X-Space series, construction began in 2021 with details on the superyacht kept tightly under wraps until now. 

La La Land is spread over five decks and features exterior design by Zuccon International Project , with interiors penned by Piero Lissoni .

Speaking about the design, Bernardo Zuccon said: "The X-Space project was born with the desire, not to create a wonderful floating structure, but to create a wonderful vessel for life."

The yacht is designed specifically around privacy, with the upper deck entirely dedicated to the owner. This includes a private apartment, study, living room and large master cabin that leads directly onto a private terrace at the bow. The bow is arranged with a 30-square-metre sunbed area and swimming pool.

The wheelhouse and captain’s cabin meanwhile have been moved onto the deck above, while the placement of the owner’s cabin on the upper deck has freed up the main deck, which traditionally features the master suite.

"I think it has never been so important as it has in this project to seek to identify with the owner, who will be the great commander of this boat, hence the desire to create an entire deck dedicated to their needs," added Zuccon.

Another key design tenet is the amount of glass featured throughout the design. It is, Lissoni said, "a boat almost entirely made of glass."

Large panes of glass and large windows are found throughout, while the portholes in cabins have been replaced with "glass walls". This helps "eliminate the barriers" between the exterior and interior of the yacht, the yard said.

Lissoni added: "The interior has forced its hand on the exterior and the exterior has been so elastic and so well designed that the interior has almost adapted itself in a totally natural way."

The aft area of the La La Land ’s main deck is a spacious terrace with an 18-square-metre pool overlooking the sea. An open-air living room for guests leads aft to a plush lounging area with two sofas.

La La Land has an estimated range of 4,000 nautical miles at a speed of 10 knots. 

This follows the interior reveal of Tecnomar 's This Is It , the largest charterable catamaran in the world.

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Did Jeff Bezos put a sculpture of his girlfriend on the bow of his new $500 million megayacht? You be the judge.

• A sculpture on Jeff Bezos' new $500 million megayacht has tongues wagging: Is it his girlfriend?
• Bezos and his girlfriend, Lauren Sanchez, were recently spotted on the yacht for the first time.
• The watercraft is named Koru, which is Māori for loop or coil and signifies new beginnings.

A sculpture on Jeff Bezos' new megayacht has people wondering whether it's his girlfriend, Lauren Sanchez .

The figurehead on the prow of the 417-foot watercraft shows a woman with long hair in a flowing dress, as seen in photos first published by the Daily Mail . She appears to be wearing a necklace that may feature the symbol for koru, which is the name of the ship. Koru means "loop" or "coil" in the Māori language and often signifies new beginnings.

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Bezos and Sanchez, who went public with their relationship in 2019, were first spotted on the new $500 million superyacht earlier this week off the coast of Spain.

The vessel, believed to be the largest sailing yacht in the world, had a rocky road to completion. It caused an uproar when its Dutch shipmaker, Oceanco, requested that a historic bridge in Rotterdam in the Netherlands be dismantled for the yacht to pass because its masts were too tall to pass through underneath.

The 100-year-old Koningshaven Bridge, nicknamed "De Hef" by locals, had been renovated in 2017; after that, the city had vowed not to take it apart again, according to Dutch broadcaster Rijnmond .

Residents grew outraged and even threatened to egg the yacht if the bridge was dismantled, prompting Oceanco to withdraw its request and quietly tow away the yacht to another shipyard without its masts, which were installed later to avoid the clearance issue.

Koru was seen  doing sea trials , which are comprised of several tests and usually mark one of the last phases of construction, in February. The yacht made its maiden voyage in April when it left Oceanco's facilities to travel to Gibraltar on the way to Bezos.

Check out the photos of the yacht's figurehead on the Daily Mail .

Watch: Jeff Bezos reportedly just spent $165 million on a Beverly Hills estate — here are all the ways the world's richest man makes and spends his money

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A Boat Designed to Be a Breath of Fresh Air

The creators of the latest vessel from Azimut Yachts went to great lengths to reduce its emissions, but even they won’t call it green.

By Ian Volner

Reporting from Milan

This article is part of our Design special section about water as a source of creativity.

In the middle of Milan Design Week last month, in the middle of the Bagni Misteriosi — a historic bathing complex in the Porta Romana neighborhood — the Italian luxury shipbuilder Azimut Yachts hosted an unusual exhibition. It was a celebration of the company’s latest offering: the Seadeck 6, which made its debut last year and features interiors by the design team of Matteo Thun and Antonio Rodriguez.

Having been lowered into the facility by crane, the nearly 60-foot vessel was set afloat in an outdoor swimming pool. There it bobbed, traversed by hordes of well-coiffed guests while a concealed apparatus shrouded it in bursts of atmospheric steam. Surreal, elegant, not a little absurd, it was a scene straight out of Fellini, with overtones of Werner Herzog’s boat-hoisting epic “Fitzcarraldo.”

But the thing that made it most unusual? “Azimut wanted to make this the most sustainable boat on the market,” Mr. Rodriguez said. “We tried to do that.”

The ultimate playthings for the ultrawealthy, high-end pleasure craft would not seem optimal candidates for greening. Yet a growing number of manufacturers and designers are trying to change that, producing yachts both large and (comparatively) small assembled from fewer and less carbon-intensive materials, requiring a fraction of the power to run and drawing more of their energy from renewable sources.

In a peculiar twist for an industry uniquely exposed to supply-chain shocks and the vicissitudes of geopolitics (the loss of the once-lucrative Russian market continues to smart), global brand leaders appear to be making the move toward energy efficiency of their own accord, rather than in response to any explicit demand from their clientele.

“We will have to see if the world is ready,” said Giovanna Vitelli, Azimut’s chairwoman, as she stood aboard the Seadeck 6 during its not-quite maiden, not-quite voyage.

It is an approach that entails some risk. In January, Silent Yachts — an Austrian solar-electric catamaran company with facilities in Fano, Italy — was reported to be approaching bankruptcy amid problems with both its corporate parent and a key subcontractor. A former client stepped in to rescue the brand from insolvency, yet challenges remain. In a recent interview with the trade publication Superyacht News, the company’s new chief operating officer, Fabrizio Iarrera, spoke of the “costs associated with creating an entirely new market.”

Still, the push toward more sustainable yachting appears to be barreling forward, part of a broader shift in the role of design in the industry. Seven years ago, Bonetti/Kozerski Architecture in New York — known for its plush hotel interiors for the hospitality magnate Ian Schrager — was invited by Azimut’s sister company Benetti to develop a new yacht concept, the Oasis. It was one of the rare instances in which Benetti, founded in 1873, had sought out collaborators with no previous maritime experience, and all parties took it as an opportunity to import a set of values they viewed as lacking in the boating world.

According to Enrico Bonetti, the architecture firm’s co-founder, boat design previously favored grand spaces that no one actually liked. “There’s always this big table nobody’s using, then you step into another place with shiny things,” he said. “We didn’t follow that.” With its open, airy living space, wood paneling and notable lack of gold leaf, the Oasis represented a more humane vision for the yacht of the future, one constrained by at least the appearance of refinement and reserve, though it was ritzy nonetheless.

That low-key tendency is very much in line with the decarbonization campaign now underway at Azimut and other builders. In recent years, design studios like Zaha Hadid Architects and Pininfarina have turned out yacht proposals that pair sleek visuals with reduced reliance on fossil fuels; later this year, Yves Béhar, the Swiss-born product and furniture maestro, will unveil his own take on the trend — a catamaran designed for an as-yet unnamed manufacturer. “It’s essentially an E.V.,” said Mr. Béhar, who was also in Milan for the design fair.

Underlying the designer eco-yacht phenomenon is the intuitive sense, as Antonio Rodriguez put it, that “silent luxury” is fast displacing opulence. Where previous generations of yachters sought to flaunt their wealth, today’s owners may be less keen to draw attention to their own affluence. In reducing their carbon footprint, boatmakers are hoping to lure customers eager to reduce their profile, while still allowing them to ply the seven seas in style.

The Seadeck 6 certainly does that. With a crisp, white exterior — the work of the veteran yacht designer Alberto Mancini — the ship sleeps up to eight in three below-deck cabins. Topside, guests can sprawl in fore and aft lounges, or take lunch prepared in a semi-concealed galley, served on an elegant foldout table. The interior palette is muted, the contours soft, and everywhere, Ms. Vitelli said, the intention was to let people “feel close to water” rather than immuring them in an oceangoing penthouse.

Relatively speaking, the Seadeck’s ecological credentials are also impressive. Nearly every feature has been retooled for minimal environmental impact: replacing the customary teak deck with sustainably sourced cork; covering the walls and upholstering the seating with organic and recycled materials; even sealing the hull with something the company refers to as an ‘eco-gel finish.’” Most important, the craft incorporates a still-novel (for marine propulsion) hybrid engine, capable of a top speed of 33 knots with the ability to navigate about 200 miles offshore — enough for a quick spin from Fort Lauderdale to the Bahamas.

Add it together, and the company claims the Seadeck 6 and its larger cousin, the 71-foot Seadeck 7, achieve an operational carbon output 60 percent that of comparable vessels.

It’s a start, but only that. A comparative analysis with a similarly sized Azimut product — coupled with statistics from the Environmental Protection Agency — suggests that the cruise from Fort Lauderdale to Nassau would contribute roughly 4,400 pounds of carbon dioxide on the Seadeck 6, well over what the average American produces in a month.

And then there are the more immediate costs: around $2.8 million for the Seadeck 6 and $4.25 million for the Seadeck 7. Ms. Vitelli said the company hopes that enough buyers will come aboard to make price reductions possible in future.

A lot is riding on these hopes. Elsewhere in Milan, at the giant exhibition hall of the Salone del Mobile furniture fair, a talk session with a group of yacht experts underscored the stakes: During the panel, Stefano de Vivo, the chief commercial officer of the luxury yacht brand Ferretti Group, presented a slide showing Italy’s dominance in the custom-yacht sector, with domestic manufacturers taking a large share of the $9 billion global marketplace.

Mr. de Vivo declared sustainability essential to shipbuilding’s ongoing success and spoke of a general convergence with the design field at large. “As a shipyard, we’ve had to become less ‘marine,’” he said.

Back at the Bagni Misteriosi, mariners did seem in somewhat short supply, as various design lovers and Salone personalities (including the celebrated architect Michele de Lucchi, who helped create an on-site installation for Azimut) swanned around the bathhouse garden and its waterborne centerpiece. As an image of an ecologically sensitive future, the spectacle seemed off the mark — but then the Seadeck’s creators are careful not to make any overly sweeping claims as to whether their yacht, or any yacht for that matter, can truly be deemed an ecological asset.

“We don’t really like the word ‘sustainable,’” Mr. Rodriguez said. “We prefer to say it’s ‘conscious.’”

Photos: SpaceX prepares Starship for another launch in May

SpaceX is already preparing for the fourth launch of Starship, just days after the rocket’s third flight test.

During the last flight test, IFT-3, Starship finally reached orbital velocity . The world’s most powerful rocket flew around Earth before performing a hard splashdown over the Indian Ocean.

It’s set to be a busy year at SpaceX’s Starbase facility in South Texas. If the company manages to push through Federal Aviation Authority (FAA) approval, it will launch Starship up to nine times this year.

SpaceX prepares for next Starship launch

Starship could fly again as soon as May, and SpaceX recently shared images of the rocket’s upper stage undergoing preparations for testing.

The image below shows a misty Starbase facility. The deceptively serene shot shows off the location of Starship’s ongoing fiery test campaign. Three Starship prototypes are clearly visible in the foreground.

SpaceX employs a fail fast, learn fast approach to its design. Essentially, the company has several dispensable Starship prototypes ready for launch at Starbase.

SpaceX collects a wealth of data during every launch, even if it ends with a dramatic explosion. This allows the company to quickly learn from previous launches, as highlighted by Starship’s development trajectory so far.

Each successive launch of Starship has gone slightly further than the last.

The first launch of Starship in April last year ended with an explosion shortly after launch. During the second launch, Starship successfully performed a hot-staging separation , though the upper stage was lost shortly before it could reach orbital velocity. Starship finally reached orbital velocity during IFT-3 on March 14.

SpaceX’s iterative design process

Starship is the world’s largest and most powerful rocket. It stands 394 feet tall (120 meters) and produces roughly 17 million lbs of thrust at launch thanks to the 33 Raptor Engines attached to the Super Heavy first stage.

During IFT-3, the rocket performed several significant milestones. Shortly after launch, the rocket executed its second hot-staging separation. The rocket’s upper stage then flew around the world for 50 minutes.

As it reentered Earth’s atmosphere, a wall of plasma started glowing around the rocket. Remarkably, SpaceX’s Starlink internet connection held steady, allowing the company to live stream footage of the reentry.

SpaceX is still analyzing the data from IFT-3. Meanwhile, the company is already preparing for IFT-4. In a post on X (formerly known as Twitter ), SpaceX announced it had moved the next Starship upper stage prototype to the launch pad at Starbase “for upcoming static fires”.

During the recent Satellite 2024 conference in Washington on March 19, SpaceX president Gwynne Shotwell said Starship will hopefully launch again “in about six weeks.”

SpaceX has a $2.9 billion contract to fulfill for NASA for a modified Starship lunar lander. In June 2023, NASA associate administrator Jim Free expressed concern that the lander wouldn’t be ready on time. The company is also working to fulfill Elon Musk’s vision of making humanity a multi-planetary species. A lot is riding on the next few flight tests.

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