There are yachts that seek to impress. And then there are yachts that simply win you over. Not through excess, not through noise, not through a desire to dominate the skyline of a crowded harbor, but through a rarer quality: consistency. Amor à Vida, a 67.55-meter yacht built by CRN with exterior and interior design by Nuvolari Lenard, firmly belongs to this second category.
For Carlo Nuvolari, the project stems first and foremost from a successful meeting. “An experienced owner. Someone who has already owned several boats, including fast ones, and who has undergone a true journey of maturation—even in a sporting sense, if you will. A growth that led him, at a certain point, to desire something different: a more comfortable boat,” says Nuvolari. It is here that the story of Amor à Vida takes its most authentic direction: not the pursuit of performance, but the search for a quality of living.
In Nuvolari’s voice, one point comes through strongly: the owner of Amor à Vida didn’t need to prove anything. And it is precisely this inner freedom that also set the project free. “There was no desire to ‘show off,’ no need to follow fads or trends, nor to compete with other owners. He simply wanted to be satisfied, for himself,” Nuvolari emphasizes. For a designer, it’s an almost ideal situation.
“You’re dealing with a knowledgeable client who understands boats and tells you very clearly: ‘I am the client. I have no constraints, no preconceived notions, or stylistic pressures. ‘Make me a proposal that I like,’” Nuvolari notes. And further: “He is a man of culture, with a highly refined taste. He has a strong aesthetic sense, he loves beautiful things—and this makes the design dialogue even more stimulating,” adds Nuvolari. The project was, in fact, built step by step, through a series of meetings and direct discussions.
A gradual process, absorbed and reworked by Nuvolari Lenard until it became a strong proposal perfectly aligned with its client. “Working with a client who is passionate and knowledgeable about yachts is my favorite situation: he knows what to ask for and knows how to listen; he lets you design and, above all, trusts you and your genuine desire to create something beautiful,” comments Nuvolari.
Aesthetic and Architectural Standards
In Nuvolari’s discourse, the question of taste is addressed without ambiguity. With a clear-cut stance, almost going against the grain. “It is often said that ‘beauty is in the eye of the beholder.’ This is partly true, but only up to a point. There are standards—architectural, stylistic—that carry their own precise weight,” reflects Nuvolari. Because the project, he insists, is never simply the result of a mood or a spur-of-the-moment desire. “If we truly accepted the idea that everything is simply subjective, architecture, design studios, and universities would not exist.
The project, on the other hand, is also method, culture, knowledge. It is something more structured, almost scientific,” adds Nuvolari. It is a position that finds its synthesis in a key phrase: “As I’ve said many times, the success of a project lies precisely in the overall proportions. There are certainly rules of architecture and design that are followed to achieve an excellent result,” observes Nuvolari. InAmor à Vida, this principle translates into a very controlled construction of the whole. “As in all the projects we undertake, the starting point is proportions. We place enormous importance on the overall proportions, applying well-established architectural rules. Once this structure is defined, we work on the details,” explains Nuvolari.
Design Synthesis
Perhaps the most important concept—and certainly the one dearest to Nuvolari Lenard—is that of unicum. Amor à Vida does not arise from the sum of separate components, but from their synthesis. “For us, a project is always a unique creation,” continues Nuvolari, adding: “When someone says, ‘I have a good layout and a beautiful hull, now just give me an exterior design,’ that’s the wrong approach for me. It can’t work that way.
The project must be approached as a whole: layout, proportions, exterior forms, and interior design must emerge together and interact with one another,” Nuvolari emphasizes. This is not a theoretical statement. It is the method by which the firm has operated in the yachting market since 1991. And in the case of CRN, the relationship is now well-established: Amor à Vida is the ninth large CRN yacht designed by Nuvolari Lenard. “We have a long-standing relationship with the Italian shipyard, part of the Ferretti Group,” recalls Nuvolari. A relationship also fueled by the very nature of the brand. “It’s important to remember that CRN is a true shipyard: it began by building ships, not small boats that grew over time. And this origin is clearly perceptible,” notes Nuvolari.
The superyacht’s signature
Looking at Amor à Vida, the sensation is precisely this: not just nautical, but naval. More authoritative, more structured, to use a term dear to the project’s lexicon. The exterior lines work through subtraction. Ultimately, Amor à Vida is a large yacht with very generous interior volumes; yet, the exterior styling manages to contain them and makes the yacht look sleek. The lines are clean, long, and unbroken, typical of Nuvolari Lenard’s design and also very Italian. There are no superfluous elements; the style is the result of formal purity.
Nuvolari confirms this: “In the case of this boat, the challenge was even more interesting: while maintaining a sleek line, we had to manage substantial volumes. It’s not about hiding them, but about ‘dressing’ them, integrating them. It’s a bit like the work of a great tailor,” says Nuvolari. Curves are the absolute protagonists. “It’s a yacht dominated by curves. There are no sharp edges; there is nothing to interrupt the continuity of the line,” Nuvolari continues. An aesthetic choice, certainly, but also a technical one: “This choice is not merely aesthetic; it also has technical implications. The smooth surfaces offer less aerodynamic drag and help reduce certain phenomena, such as the noise generated by sharp edges,” Nuvolari explains.
The bow also contributes to this identity. “We sought a synthesis. It’s a bow that evokes certain stylistic elements popular between the 1930s and 1950s: not completely vertical, but not traditional either. A middle ground that conveys character without being nostalgic,” explains Nuvolari. And the large central mast—far removed from any automotive influence—reinforces the intention. “Instead of a classic automotive-inspired roll bar, we wanted a more ‘naval’ element, almost like a funnel. The idea was clear: not a boat that winks at the automotive world, but a yacht with its own authority, almost like a ship,” concludes Nuvolari.
Conviviality: the true driving force behind the layout
Whilst the exterior conveys a sense of control and restraint, the layout, on the other hand, reveals the owner’s personality. A convivial personality, one who loves the outdoors, long gatherings with friends, but also individual freedom.
Nuvolari gets straight to the point: “It means starting from very simple, almost obvious needs: being comfortable at the table, being well looked after, having shaded areas, enjoying the spaces without constraints. They seem like trivial details, but when you put them together, they create a truly bespoke layout.”
Hence the decision to move the dining area to a less conventional position, closer to the stern and thus in direct dialogue with the outdoors. “Since the owner wanted a very direct connection with the outdoors, we suggested moving the dining table closer to the aft cockpit. It’s not the most conventional solution, but it’s perfectly consistent with his way of experiencing the boat,” says Nuvolari. The floor-to-ceiling windows, which open fully even at the sides, enhance the continuity between the interior and the landscape. “The dining area enjoys a direct view of the sea, with no visual obstructions. It was a deliberate choice: we wanted the gaze to be able to roam freely towards the horizon,” notes Nuvolari. And again: “Not everyone likes living with the air conditioning on all the time. When conditions allow, being able to open everything up and let in the natural air is hugely valuable. It creates genuine ventilation, a direct connection with the outside environment. And ultimately, that is precisely the point: experiencing the sea, not just looking at it,” emphasises Nuvolari.
The pool, the spa, the beach club
If there is one space that best encapsulates the character of Amor à Vida, for Carlo Nuvolari it is the main deck around the swimming pool. “I would say without a doubt the main deck area around the swimming pool. It is there that you immediately sense the theme of conviviality,” says Nuvolari. The soft, enveloping forms create an open-air lounge whose visual and social centre of gravity is the swimming pool. “Imagine the scene at sunset — the illuminated water, the light reflecting off it, the atmosphere relaxing. It’s a space that acts almost as a catalyst,” observes Nuvolari. It is no coincidence that the glass bottom of the pool brings natural light into the beach club below, creating a striking effect. “It’s a detail you might not notice straight away, but it creates a very evocative effect. Today, light is an integral part of the design: it amplifies the perception of the spaces and defines their character,” adds Nuvolari.
Below, the wellness area completes the picture. Sauna, steam room, gym, massage area, relaxation spaces: a natural extension of the holiday. “It is a comprehensive environment designed as a place of relaxation, a space to enjoy after a day spent by the sea,” explains Nuvolari.
Distributed privacy, not segregated
One of the most interesting aspects of Amor à Vida is the way it manages the relationship between socialising and privacy. The owner wanted to have many friends on board, but not to experience constant, obligatory sharing. “When you have many guests on board, it’s inevitable that groups will form. And, after a few days, it’s just as natural that someone might want to carve out a more intimate moment,” says Nuvolari.
The design solution is clear: to distribute comfort and functions across multiple decks. “That’s why we worked to provide spaces with the same level of comfort across multiple decks. You can’t concentrate everything in a single spot: the bar, for example, can’t be only on the upper deck. It must also be present elsewhere, so that each group can enjoy the boat independently,” explains Nuvolari.
The result is a variety of equivalent spaces, capable of accommodating different dynamics without overly rigid hierarchies. “The design responds precisely to this need: to offer freedom, without forcing people to share,” remarks Nuvolari.
Among these spaces, Nuvolari highlights in particular the area at the stern of the bridge deck: sheltered from the wind, elevated, shaded, with large sofas and a well-equipped bar. And then, at the very top, the crows’ nest: a true suspended retreat. “It is a genuine fourth area on board, more intimate and quiet. A place to relax in peace, away from the rest of life on the boat,” concludes Nuvolari.
A relationship of trust that accelerates the project
In Nuvolari’s account, another element emerges strongly: mutual trust. “A relationship of mutual trust was established. We trusted what he conveyed to us, and he trusted the work we presented to him,” says Nuvolari. A precious condition, because it is rare. “Not very often. It’s a condition you reach, but generally through a longer process. In this case, however, it was established right from the start, and it was decisive,” emphasises Nuvolari.
The builder benefits too. “Because when there is trust, the project becomes smoother, faster. And it is also an advantage for the builder, who faces fewer uncertainties: we are able to convey information clearly, comprehensively and at the right time,” explains Nuvolari.
And it is perhaps precisely here that Amor à Vida finds its deepest balance: not only in form, but in the process that created it. In the ability to bring together the owner’s character, the design culture of Nuvolari Lenard and the shipbuilding expertise of CRN. “The collaboration with CRN was intense, at times lively, but always constructive: a dialogue between professionals motivated by the common goal of giving shape to a yacht that was truly a synthesis of design, craftsmanship and passion for the sea,” concludes Nuvolari.
Matteo Zaccagnino
Amor à Vida
Exterior Design: Nuvolari Lenard
Exterior Art Direction: Giauro Sportato
Exterior Project Management: Simone Feltrin
Interior Design: Nuvolari Lenard
Interior Art Direction: Valentina Zannier
Interior Project Management: Alessandra Cassol
Shipyard CRN
Naval Architecture CRN Engineering
Project Manager Andrea Le Moglie
Project Architect Costanza Pazzi
Construction Project Engineer Simone Silvestroni
CRN & Ferretti Group Superyachts Division Shipyard Production Director Raffaele Giannetti
CRN & Ferretti Group Superyachts Division Head of Engineering Filippo Belcecchi
CRN & Ferretti Group Superyachts Division Operations Director Bruno Piantini
