Interview with Amor Jimenez Chito
Amor Jimenez Chito is a yacht designer, based in Malaga, Spain, with a holistic approach to design, focusing on the integration of functionality and aesthetics.
Designer of the Day Interview
26 May 2025
I have almost a decade of experience in the engineering and design sectors, both industrial and graphic. For just over five years, I have specialized in yacht and transportation design, working on a wide range of projects, including superyachts, modular vessels, and more sustainable concepts. I have collaborated with both startups and world-renowned shipyards, and my studio, Loveworks Design, based in Spain, has established itself by combining innovation, aesthetics, and functionality in small-scale vessels. Three years ago, I also launched my own water toy design company, One Water Toys, where I successfully launched a jet ski-powered vessel. I was recently awarded the Gold A' Design Award for this project, "ONE 16," which reflects the culmination of years dedicated to rethinking nautical experiences.
I've always been fascinated by how things are made and why they evoke emotions in us. As a child, I drew cars, houses, boats without really knowing what they were at an engineering level. I was fascinated by cars, motorcycles, boats, houses—how they moved, how they sounded, how people interacted with them. It wasn't just about drawing; it was about imagining new ways of experiencing the sea. Over time, that curiosity became my profession. I studied engineering in industrial design and product development, and later a master's degree in transportation design, where I specialized in yacht design because I felt it was the most authentic expression of my identity: where creativity, engineering, and nature come together. Designing isn't just a job for me. It's my way of understanding the world.
Function, emotional connection, and form are the fundamental pillars of my design process. I always start by understanding how a product will be used, who will use it and how, and the emotions it should evoke. From there, I balance form and function to create something beautiful and purposeful. I use a combination of hand sketches and digital tools, often starting loosely and intuitively before refining in 3D with CAD and renderings. I also create physical mockups when necessary to check proportions and ergonomics.
Design is a very deep and emotional process for me. The initial ideation phase is exciting: it's a time of pure imagination and research. Then comes the challenge of bringing it to life, which brings moments of doubt, discovery, and problem-solving. There's a quiet joy when the final concept makes sense, when a form or function finally feels "just right." That's one of the best feelings I've ever known.
Living by the Mediterranean Sea and spending time there shaped my spatial perception and sensitivity to marine environments. In addition to my design skills, I value empathy, adaptability, and storytelling. My ability to listen carefully to clients and understand their vision has been key. I also draw a lot of inspiration from travel, the experiences of others, and nature—sources that teach you to observe, connect the dots, and imagine beyond the obvious.
I want to continue evolving as a studio that combines high-end "neo-craftsmanship" with innovation with a clear purpose. I'm also working on growing my company, One Water Toys. My ideal project would be to design a blank canvas—with a blank check, why not—so I can express all my design capabilities on one or more boats, small or large. I also want to be remembered as someone who made design more human, more emotional, and who contributed to good design in the yachting world.
Be curious, patient, and perseverant. Don't become obsessed with your personal style too quickly; focus on solving problems, offering opportunities, and understanding people. Also: design isn't just about the visual; it's about systems, communication, and often diplomacy. Move beyond artistic individuality. Learn to communicate clearly, build strong relationships, and always be willing to learn from others. And don't be afraid of failure. Often, the best lessons come from projects that didn't go as planned.
Always ask yourself why you're designing something, for whom, where, under what conditions, what it offers, what it solves, and for what purpose. Good design is born from intention, not from decoration. Also, collaborate: share ideas, be generous, and stay curious. Avoid getting too comfortable in your niche; explore, take risks, and invest time in understanding other disciplines. Design thrives at the intersection of worlds.
It starts with a coffee and some reading. I follow with a short walk to get my body moving, usually while listening to a podcast related to my industry or my latest interest. Depending on my needs and the time of week, I can continue with technical work, CAD modeling and/or calls or meetings. Until the lunch break, I then continue with some work, creative development, or client contact. In the late afternoon, I unwind to exercise or relax on the beach or at sea.
I follow trends loosely, primarily through design publications, design shows, and conversations with other creatives. It's a fascinating part of the research prior to any project. I always try to stay up-to-date. Trends are useful for understanding the context, but I believe in designing timeless products with lasting value. Inspiration can come from anywhere—an old design, a sculpture, a sample of material—but I always filter it through my own perspective.
Here I would paraphrase Dieter Rams and his 10 principles of good design: innovative, useful, aesthetic, durable, thoughtful, etc. And I would add that good design is also one that stops focusing on itself and becomes an experience. Beyond solving a problem, it generates opportunities and emotions. A well-designed product is about "less is more." If you can make someone smile or get excited about using what you've created, then you've done your job well.
I know a design is ready when subsequent changes no longer add value, but rather begin to dilute its essence. There's a moment of clarity when everything falls into place: structure, proportion, purpose. That said, I always leave the door open for future improvements. The design is never truly "finished"; it simply reaches the point where it's ready to be shared with the world.
Without a doubt, the ONE 16. It's a hybrid vessel powered by a jet ski, which combines the performance and adrenaline of a PWC with the comfort and functionality of a 6-meter boat. It was born from a vision to create a more social, compact, and customizable aquatic platform. A water toy so I could test and express some of my design instincts and ideas. The design process lasted years, including iterative models and prototypes and close collaboration. It's a piece with character, but also a functional and enjoyable product. Winning the Gold A' Design Award was a huge achievement.
It's a very difficult question to answer. There are so many good designers and so many different disciplines. I admire designers like Marc Newson, Dieter Rams, Philippe Stark, Ray and Charles Eames, the Bauhaus School generation, Giorgetto Giugiaro, and Pininfarina. In the marine world, I have great respect for Espen Øino, Tony Castro, Marco Ciampa, and Christian Grande, among others.
I live in a small town on the Costa del Sol, in southern Spain, next to the sea, which profoundly influences my work. Mediterranean culture values beauty, functionality, simplicity, and ancestry, qualities that resonate in my designs. Gastronomy, the unique Andalusian lifestyle, and music are part of my process, as are the sounds and environments that help me focus. Design has taught me to value space, silence, and a life of purpose.
I work in a small, agile setup where flexibility and clarity are key. I collaborate with engineers, naval architects, and manufacturers, often creating a bespoke team for each project. I usually work alone but with good professionals around me and my projects. I value honesty, accountability, and enthusiasm in collaborations. Good design starts with good conversations, and I like to keep the process transparent and human.
Whenever I can, I help young designers or support startups. I've participated in design talks and educational events to share ideas about naval design and entrepreneurship. I believe designers have a role to play in fostering better habits, smarter consumption, and a more conscious relationship with nature.
The A' Design Award has been a fantastic platform for sharing my work with a global audience. It has given me credibility, media exposure, and opened the door to meaningful conversations. The three key benefits: the validation of a respected jury, access to an international network, and the motivation to continue expanding my professional field. Being named Designer of the Day is a tremendous honor and a reminder that good design matters.
Interview about One 16 Hybrid Jetski Boat Design Interview
Design Legend Interview
26 May 2025
I've always been fascinated by how things are made and why they evoke emotions in us. As a child, I drew buildings, cars, houses, boats, without really knowing what or how they could be made. It wasn't just about drawing, but about imagining new forms. Over time, that curiosity became my profession. I studied industrial design engineering and later a master's degree in transportation design, where I specialized in yacht design because I felt it was the most authentic expression of my identity: where creativity, engineering, and nature come together. I've always loved transportation, and as an engineer, I sought fulfillment in this field. As for my creative side, I always sought to imagine and create. I was born and raised in a coastal town and have always been connected to the sea. Designing yachts isn't just a job for me; it's my way of creating and expressing my creative side within an extremely technical context.
I've always felt the need to create: to improve objects and imagine new experiences. Design allows me to merge the rational with the emotional, transforming ideas into something useful, beautiful, and meaningful. I became a designer truly out of vocation and because it's where I feel most capable of making a real contribution.
It was completely my choice and a feeling of calling. It felt like the natural path. Since I was a child, I'd always drawn vehicles, sketched objects, and taken things apart to understand them. No one pressured me; design simply felt like a part of me.
I primarily design yachts, from personal water toys to tenders, yachts, and superyachts. I design both exteriors and interiors. I'd love to design more boats, it's that simple.
Don't strive to be a legend, but rather work and experiment. Be obsessed with learning, stay curious, and commit to understanding problems thoroughly before attempting to solve them and offer more opportunities. Know your tools, but also know yourself.
A good designer solves a brief. A great designer challenges it, reframes it, and often finds a deeper need behind it. Great designers also create emotions and experiences, not just objects.
If it works better than expected, feels natural to use, and looks like something from the future, it's probably a good design. If it also tells a story or evokes emotions, it's a great design. I like to apply Dieter Rams' 10 principles of good design as a way to maintain measurable parameters, where the possibilities of each project are discussed.
Because good design improves lives in subtle and consistent ways. It's often invisible when done well, but it makes everything flow better: from tools to environments to relationships. It can also be so good it amazes and excites people.
I would design a spectacular vessel: possibly multi-hulled, modular, and transformable, with multi-use areas, many facilities such as a gym, leisure areas, a spa, swimming pools, a large, varied and fun garage, and sustainable. Not just for leisure, but also for exploration and adventure.
Perhaps one of my first projects, the Triunfo Superyacht, a 50-meter vessel with a system that transforms from a monohull to a trimaran, using revolutionary and innovative composite materials, 100% sustainable powered and a very distinctive aesthetic, full of personality, elegance, and daring. Perhaps at that time, there were technical difficulties in its manufacturing, in addition to the large budget involved, but perhaps in the future, with a revised design, it could be built.
I don't have any secret recipe or formula. I apply my knowledge, experience, and logic to my work. Perhaps research, creativity, and empathy can be great allies. Design with a purpose, understand the market, the client, the consumer, their needs, their tastes, their desires. Everything else is aesthetics, structure, and performance; it's based on that.
There are so many good designers and so many different disciplines. I admire designers like Marc Newson, Dieter Rams, Philippe Stark, Zaha Hadid, Charles and Ray Eames, the Bauhaus School generation, Giorgetto Giugiaro, and Pininfarina. In the yachting world, I have great respect for Espen Øino, Tony Castro, Marco Ciampa, and Christian Grande, among others.
It's a very difficult question to answer. I may have several designs in mind, such as the Eames lounge chair, the iconic Frank Stephenson's Ferraris, Mini copper or McLaren, for example.
It hasn't arrived yet. But for now, one of the designs I'm most proud of is undoubtedly the One 16. For everything it has meant and continues to mean to me on a personal and business level, for being a design with a purpose, with emotion behind it, designed for functionality and excitement. It's timeless, bold, striking, adaptable, and challenging.
Don't rush. Design comes when you stop imitating or with experience. Listen more than you talk. Be interested and curious about what's around you and what might affect your future. Try to develop your own vision, cultivate discipline, and surround yourself with discerning people. Learn from those who know and those who feel. And above all: design with your feet on the ground, without limits or filters, and your eyes on the horizon.
Probably something related to engineering, architecture or in the recreational nautical sector.
For me, design is a conversation. Between materials and imagination. Between utility and emotion. Between what already exists and what could exist. Good design solves problems, yes, but good design creates experiences. It invites people to participate. It makes them feel something. That's what I strive for with every design: not just performance or aesthetics, but connection. I can think of design as an emotional strategy.
My environment and my family, without a doubt. Without them, I wouldn't have gotten to where I am.
I always ask myself why I design something, for whom, where, under what conditions, what it offers, what it solves, and for what purpose. Good design is born from intention, not decoration. I also collaborate: I share ideas, I am generous, and I remain curious. I avoid settling too narrowly into one niche; I explore, take risks, and invest time in understanding other disciplines. Design thrives at the intersection of worlds.
Self-doubt. Doubts about how the industry actually works, internally. Limited access to industry contacts. Rejection due to lack of age or experience. Having to learn a lot on my own. But those challenges shaped me.
With clarity and humility. Let the idea speak, but guide the audience through its reasoning and emotion. Make it a conversation rather than an announcement.
There are currently several projects in the making. I'm also working on more specific versions of the ONE 16, one for families and another for professional and water sports.
That's too broad a concept. Perhaps it could be having a blank canvas—and a blank check, why not?—and having the client blindly trust my abilities and my design intentions. Being able to translate those emotions into a real concept. And having a multidisciplinary yacht design team like the great ones.
Originality with purpose. Elegance, boldness, logic. And a clear sense of direction.
It makes systems more humane. It reduces waste, creates opportunities, and improves accessibility. It helps people live better lives.
We're preparing for a broader international launch of the ONE 16, adapting it to different climates, user habits, and business models.
The most satisfying ones are the ones that surprise me at the end. When a customer says, "This is better than I imagined," it's magical. The One 16 delivers on that.
Less obsession with vain and materialistic trends, more focus on impact. Also, greater recognition of small-scale innovation, not just flashy launches.
Toward regeneration. Beyond sustainability, toward systems that actively repair or enhance ecosystems and create new opportunities.
It varies a lot. Some may take 3 weeks, others months. But I always try to find a balance between speed and depth.
It starts with observation and research. With questions. Why? For whom? In what context? Then I move on to sketching, and research again alongside it. I move from paper to plans, to 3D, to rendering. And then to production. Then to the sea. I always come back to the user: I imagine what they'll do, how they'll interact, what they'll remember. It's a process of trial, error, intuition, and many iterations until I get it right.
"Less is more," but with purpose and intention. (Yes, I'm borrowing that from Rams; it's timeless.) I would also add that "hard work beats talent when talent doesn't work hard".
Design has the power to set trends. When the opposite happens, it's usually not design.
It's a facilitator and an indispensable tool for my development. It helps me elevate my ideas.
Rhino, KeyShot, SolidWorks, Photoshop, Illustrator, Phoenix FD. And lots of paper and pen.
They define how a product feels, both emotionally and physically. They're not just window dressing; they're part of the story. For me, color, material, and finishing (CMF) are essential to a complete design and how it's perceived.
Where the idea comes from and what is the purpose.
“How did they get there?” I’m fascinated by the process behind elegant solutions.
Absolutely. The best work happens when egos are left at the door and ideas are shared openly. I've been collaborating with other studios like Coase Design for years, and we have a truly positive synergy.
Marine industry experts, boat builders, users, and many professionals from other sectors who help me stay connected.
"Design as Art" by Bruno Munari. "The Design of Everyday Things" by Don Norman. "Thinkertoys" by Michael Michalko. "The New Basics" by Lupton & Phillips. Among others. And, honestly, many specialized catalogs and magazines.
Through practice, self-criticism, continuous work, and repetition. Also, through talking with other designers and discerning people about certain designs and work proposals.
Probably with figures like Leonardo Da Vinci or Espen Oeino, for example. Also charismatic figures like Enzo Ferrari or Ayrton Senna.
Awards are an honor, but what matters most is the work behind it. I focus on improvement, not performance. I wouldn't consider myself famous at this point either.
Color: Living coral. Place: Mediterranean coast. Food: my father's. Season: summer. Thing: notebook. Brand: Porsche.
Probably once a client wanted to have a leather shelf over 6 meters long in one piece. Imagine having to find that cow!
Seeing progress. Even a small improvement in a curve, a sketch, a rendering—that's fuel. That feeling of accomplishment that keeps you going.
I've always been fascinated by how things are made and why they evoke emotions in us. As a child, I drew buildings, cars, houses, boats, without really knowing what or how they could be made. It wasn't just about drawing, but about imagining new forms. Over time, that curiosity became my profession.
Hopefully we’ve learned to design with the planet, not against it. Or even beyond Earth. Design will be regenerative, intangible and more about essence than objects.
In case, I have them. My designs have a purpose and an intention. They are experiences. I believe in functionality, aesthetics, and emotion. If there's something that makes you smile, get excited, or dream, then I've done a good job.
Designer Interview
26 May 2025
I've always been fascinated by how things are made and why they evoke emotions in us. As a child, I drew buildings, cars, houses, boats, without really knowing what or how they could be made. It wasn't just about drawing, but about imagining new forms. Over time, that curiosity became my profession. I studied industrial design engineering and later a master's degree in transportation design, where I specialized in yacht design because I felt it was the most authentic expression of my identity: where creativity, engineering, and nature come together. I've always loved transportation, and as an engineer, I sought fulfillment in this field. As for my creative side, I always sought to imagine and create. I was born and raised in a coastal town and have always been connected to the sea. Designing yachts isn't just a job for me; it's my way of creating and expressing my creative side within an extremely technical context.
This company is called One Water Toys. It essentially stemmed from a simple idea: to challenge the concept of a water toy. It also served as an opportunity for me to explore different facets of the nautical industry. I wanted to create something more: something modular, functional, aesthetically pleasing, and meaningful. Over time, One Water Toys is becoming a space for experimentation, pushing the boundaries of what we consider "design" in the nautical world. I'm proud to lead this studio not only as a designer, but as someone who deeply respects those who use these vessels. Our flagship product, the ONE 16, embodies our mission: to create personal watercraft that offer more freedom, adaptability, and beauty than conventional models. We don't just build machines; we create new ways to experience the sea.
For me, design is a conversation. Between materials and imagination. Between utility and emotion. Between what already exists and what could exist. Good design solves problems, yes, but good design creates experiences. It invites people to participate. It makes them feel something. That's what I strive for with every design: not just performance or aesthetics, but connection. I can think of design as an emotional strategy.
Obviously yachts. I'm most inspired when I design objects that move, both literally and emotionally. Yachts, in particular, have soul. They transport people through places, but also through moments. I enjoy designing "artifacts" that not only serve a function but also create an experience. I love finding that balance between elegance, efficiency, and emotion.
It's an extremely complex question to answer. There are many fields in which I have a lot of options to choose from: automotive, architecture, products, furniture, yachts, cinema, and more. From a Ferrari 250 GTO or an Aston Martin DB11, the Bosco Verticale building in Milan, Zaha Hadid's Heydar Aliyev Cultural Center in Baku, Dieter Rams' designs for Braun, and many more that I could exemplify.
The first naval project I completed was a yacht concept for a shipyard in the Mediterranean. It was a vessel designed for passenger transport, sea tours, diving, and more; pure aquatic leisure. I remember thinking and obsessing over every curve, every area of the deck. It wasn't perfect, but it taught me how challenging and rewarding it is to design something that must perform at sea and, at the same time, inspire people to dream and enjoy. That project gave me the confidence to keep building and keep believing.
I'm drawn to composite materials, especially when they allow us to combine form and function without sacrificing anything. We're fortunate to live in a time of constant experimentation and discovery. But honestly, what excites me most is how materials behave, not just how they look. I also love working in 3D modeling environments like Rhino and Keyshot, tools that quickly and intuitively shape ideas and create a realistic image. Technology should feel like an extension of your thinking.
Curiously, my best ideas don't come in front of a screen. They usually come when I'm away from the studio or in front of a blank sheet of paper: driving, sailing, walking, or even silently gazing at the sea. Creativity sometimes appears when I stop looking for it—and then it becomes clear: a line, a proportion, a new way of using space.
I'm obsessed with proportion and balance, and perhaps I'd say symmetry; although sometimes I find asymmetries beautiful and justified. Every line must have a purpose. But beyond aesthetics, I focus on how the design will be experienced: Is it comfortable? Is it intuitive? Does it convey something? Does it need to fulfill all of the above? I want each design to convey and tell a story.
Designing is a mix of vertigo and euphoria. At first, it might seem like everything is uncertain… and then, as the pieces fall into place, you feel something akin to a revelation. It's a tremendously comforting sensation, as if it already exists somewhere and you're simply discovering it.
Seeing a floating yacht born from a sketch in my notebook for the first time is hard to explain. There's pride, yes, but also humility, reward, and joy. The design stops being yours and starts belonging to everyone else. And when you see someone enjoying it... then you know it was worth it.
Here I would paraphrase Dieter Rams and his 10 principles of good design: innovative, useful, aesthetic, durable, thoughtful, etc. And I would add that good design is also one that stops focusing on itself and becomes an experience. Beyond solving a problem, it generates opportunities and emotions. If you can make someone smile or get excited about using what you've created, then you've done your job well.
First, I ask myself: Does it work naturally? Then I look at how it flows visually and whether there's coherence between form and function. In other words, I evaluate it based on its usability, aesthetics, and distinctive value. But above all, I ask myself if it conveys something. Good design not only solves problems, it also communicates.
Designing isn't just about creating; it's about assuming responsibility. Every decision has consequences, from the materials to the emotional impact. I believe designers should act as a bridge between innovation and awareness: we must imagine more sustainable and humane futures. We have a responsibility to minimize the environmental impact of our products. I also seek to foster a more respectful and conscious relationship with the marine environment.
Design is becoming more human. It's no longer just about beauty or functionality, but about ethics, inclusion, sustainability, and emotion. The future of design isn't just about objects, but about the experiences we create with them. And I find that deeply exciting. In yachting, we will see smarter, more efficient, and connected vessels, but also more user-centric. The future of design will be collaborative and increasingly transversal across disciplines.
My most recent "exhibition" wasn't a gallery, but an experience: the unveiling of the ONE 16 on the water with my company, One Water Toys. Seeing people approach it, marvel at it, and talk about it was the best showcase. As for what's next, we'll be participating in a few boat shows.
Inspiration comes from the sea and nature, of course, but also from unexpected places: a conversation, the silhouette of a car, a song that evokes a feeling in me. It's from observing how people use space and objects. My creativity thrives when I unwind: on walks at sunset, traveling, or simply looking at other "old" designs with fresh eyes.
My style seeks a balance between the functional and the emotional. I like clean lines but with intention, with each element serving a purpose. I would perhaps describe it as intentional, unapologetic minimalism, where there's always room to remember my roots or express what the future owner wants to portray. I don't chase trends, but I do rely on them as tools. I design to create moments.
I live in southern Spain, in a small town on the Costa del Sol. This environment imprints a certain character: we value beauty, enjoying the moment, contact with nature, and Mediterranean and ancient culture. It's also where nautical tradition and a passion for the sea are part of our daily lives. This inevitably permeates my designs. I am privileged to have an enviable climate, cuisine, and environment. The challenge is that it's sometimes difficult to find local industry or logistics prepared to innovate at the pace we desire, which forces us to be more creative in the way we produce and distribute.
I work through active listening. I like to understand what they want, what they fear, what they expect. Then I translate that into design. I create long-term relationships, where dialogue is more important than contracts. My goal is for the company to see me not as a supplier, but as a creative partner. I collaborate with companies through a structured yet flexible co-creation process. I bring my design vision, powerful visual tools, and a very end-user-oriented approach. I'm involved from ideation to implementation, with transparency, rigor, and long-term commitment.
A good designer is someone who listens, adapts, and engages. They translate a company's vision into a tangible experience. Intuition and empathy are as valuable as a portfolio. The value lies in finding long-term synergies, not one-off solutions. A good designer must question, contribute, and commit to the outcome and impact of the project.
It starts with observation and research. Then I move on to sketching, and research again alongside it. I move from paper to plans, to 3D, to rendering. And then to production. Then to the sea. I always come back to the user: I imagine what they'll do, how they'll interact, what they'll remember. It's a process of trial, error, intuition, and many iterations until I get it right.
1. An Italian coffee maker, for its shape and memory.
2. An Eames lounge chair, for its iconic simplicity and presence.
3. A wooden lamp.
4. A notebook always at the ready.
5. A vessel model of a project.
2. An Eames lounge chair, for its iconic simplicity and presence.
3. A wooden lamp.
4. A notebook always at the ready.
5. A vessel model of a project.
It starts with a coffee and some reading. I follow with a brief walk to get my body moving, usually while listening to a podcast related to my industry or my latest interest. Depending on my needs and the time of week, I can continue with technical work and/or calls or meetings. After the lunch break, I then continue with some work, creative development, or client contact. In the late afternoon, I unwind to exercise or relax on the beach or at sea.
Don't rush. Style comes when you stop imitating or with experience. Listen more than you talk. Be interested and curious about what's around you and what might affect your future. Try to develop your own vision, cultivate discipline, and surround yourself with discerning people. Learn from those who know and those who feel. And above all: design with your feet on the ground, without limits or filters, and your eyes on the horizon.
The positive: you can create something that didn't exist before. The negative: you never fully disconnect, and it's not usually recognized at the business level. You analyze everything, you imagine everything improved. You could say it's a blessing... and a creative curse.
Form and function should be inseparable, but experience should always be key.
Curiosity, empathy, visual thinking, communication, observation, strategic thinking, creative problem-solving, handling of technological tools, and aesthetic sensitivity.
Pen, paper, Rhino and SolidWorks, Keyshot, Photoshop, or Illustrator. But also an open mind and silence.
I divide the day into blocks and leave time to unwind. Creativity needs oxygen. I use agile methodologies combined with creative immersion phases. I plan realistic timescales and regular review cycles.
It depends on the type of product or project. Sometimes it can take from days to weeks or even months from the initial concept to the first working prototype.
Can this be done cheaper?
Why is this so expensive?
Is there a way to do it faster?
Why is this so expensive?
Is there a way to do it faster?
Designing the ONE 16 has been a turning point. It's a project that encapsulates part of what I believe about design and yachting. Leading the development of my company has meant consolidating a new boat model on the market and a different way of thinking about aquatic mobility. It's also meant navigating all the business layers of a startup.
From private clients to world-renowned firms. I collaborate with several international studios, including Coase Design and Sunseeker, for example.
Design that forces you to look differently, to rethink preconceived ideas. Projects that merge technology, aesthetics, and user experience in real-life environments.
Continue designing boats that excite, and expand into new typologies and collaborations. Expand the ONE product family, internationalize the brand, and continue pushing the boundaries of functional nautical design.
The heart of design often comes from my head and my hands, but without a team, it doesn't come to life. I design in collaboration with experts, engineers, shipyards, and users. Design is an orchestra.
There are currently several projects in the making. I'm also working on more specific versions of the ONE 16, one for families and another for professional and water sports.
Through my website, social media, or by emailing me directly. I always reply back.
Design is not luxury or decoration. It's a tool for change and emotional strategy.
I invite all stakeholders and professionals in the sector to rethink the relationship between technology, sustainability, and pleasure. Because the sea, in addition to being explored, must be cared for.
I invite all stakeholders and professionals in the sector to rethink the relationship between technology, sustainability, and pleasure. Because the sea, in addition to being explored, must be cared for.
Interview about One 16 Hybrid Jetski Boat Grand Interview