Marcello Bozzarelli: From Savannah’s Yacht Design to the Interiors of Lürssen’s 110-Metre O3

Some designers arrive at yachting with a signature style to impose. Marcello Bozzarelli of CG Design arrives with a method. An architect by training, with a degree specialising in architectural restoration, he brings to every project the sensitivity of someone taught to read a place before changing it.

PressMare - Looking back over your career, which experiences have most shaped your approach to design, and what do you think makes a project recognisably yours?

Marcello Bozzarelli - I am an architect by training, with a degree specialising in architectural restoration. My academic background has shaped an approach to design that is sensitive, attentive and meticulous in its response to the context in which I work.

The organisation of space, the fluidity of circulation, the ability to turn obstacles into opportunities, the integration of structural and technical elements, and an unwavering attention to detail all contribute to defining my architecture and interior spaces. Together, these elements form the underlying structure of each project, its skeleton. This is the framework I develop first, before giving the project its final expression, almost as if dressing it in a distinctive identity through the materials, finishes and aesthetic language that clients will ultimately see, experience and inhabit.

I believe what makes a project recognisably mine is precisely the way these elements come together to create a coherent whole, where spatial organisation, technical integration and aesthetic expression are inseparable. For me, design is not about imposing a signature style, but about finding the right balance between the character of a place, the needs of those who inhabit it and the architectural vision that brings everything together.

There is no single project that has defined my approach to design. Rather, it is an ongoing process of growth and evolution, shaped by each new experience, whether working on land or at sea.

Certainly, Savannah represents my first major project in the yachting industry. As co-designer, I found myself pushing beyond the boundaries of my previous experience and exploring an entirely new dimension of architecture. Understanding the clients and their lifestyles, particularly the way they live aboard a yacht; developing a close relationship with the shipyard; addressing complex technical challenges; and working within spaces that differ considerably from those of land-based architecture all required me to rethink familiar approaches and find new solutions.

Ultimately, Savannah reinforced my belief that good design is about much more than aesthetics. It is about creating spaces in which every element has a purpose, every constraint can become an opportunity, and the whole feels natural, coherent and effortless.

PM - That conviction, that design must serve the people who live within it, leads naturally to the relationship at the heart of every yacht project: the one between designer and owner. When designing, how do you translate the owner’s lifestyle into details that feel instinctively right? And how do you judge when to follow their instincts and when to challenge them?

MB - I don’t believe there are details that are inherently right by instinct alone, as this would make their value purely subjective. In architecture, details become meaningful when they contribute to an overall sense of harmony, arising from a balance between the organisation of space, the materials, and the way they are brought together.

In the yacht projects I have worked on to date, I have had both the privilege and the responsibility of working closely with the owners. This has allowed me to understand not only their needs and preferences, but also how they wish to experience life at sea. Each project develops through an ongoing dialogue: we listen, interpret, and then put forward our own proposals, shaped by our experience, sensitivity and vision of space.

I believe it is essential to respect an owner’s instincts, as they are deeply connected to their personal way of living. At the same time, our role as designers is to guide those instincts, particularly when an individual preference risks compromising the harmony of the whole. Ultimately, it is about finding a balance between the owner’s personal vision and the integrity of the architectural project.

PM - Nowhere was that dialogue more fruitful than on Savannah, where a shared vision between designer and owner shaped the yacht from her architecture to her smallest accessories. She earned recognition for the way her design came together as a whole. How did you create that sense of coherence while giving individual spaces their own character and sense of discovery?

MB - Savannah was conceived around the idea of creating continuity between interior and exterior spaces. This was a vision shared with the owner, as it reflected the way he and his family wanted to live on board. It led us to develop fluid circulation, generous openings and, wherever direct views were not possible, mirrored side ceilings that capture and reflect the sea, bringing its presence and changing light into the cabins.

We were involved in the project as a whole, designing both the yacht’s architecture and its interiors. This allowed us to create a unified vision, establishing a strong relationship between the exterior and the interior. Colours, materials, details, furnishings and even the smallest accessories were all carefully considered as part of the same design language. Every element connects with the others and contributes to a coherent whole. When you are on board, you have a clear sense of being on Savannah; you feel connected to the yacht and become part of her world.

At the same time, coherence does not mean uniformity. The function and character of each space guide the design, sometimes introducing unexpected elements and moments of discovery. Yachts of this scale need variety, with different atmospheres and spatial experiences. Without these variations, the interiors could become monotonous over time, sacrificing individuality in the name of continuity.

For me, coherence lies in the design approach, not in the repetition of materials; it lies in the way spaces are conceived, not simply in how they are dressed. The underlying structure remains consistent, while each space is given its own identity, character and purpose.

PM - Of course, a yacht is also a demanding environment,because every material has to satisfy both an aesthetic ambition and the demands of life at sea. Has a practical constraint ever led you to a solution more interesting than the one you originally imagined?

MB - I believe every constraint is an opportunity for exploration, research and discovery. Rather than seeing limitations as obstacles, I see them as a starting point for finding new solutions and exploring possibilities I might not otherwise have considered.

We have recently completed O3, an ambitious 110 m project with Lürssen. The yacht was already under construction when we joined the project and had a strong, clearly defined identity as an explorer yacht. This provided an interesting starting point for the interior design, challenging us to explore new approaches and develop solutions we had not previously worked with.

We experimented with a rich interplay of materials and textures, combining the bold, powerful character of metals with the softer, warmer qualities of wood, alongside the more luxurious presence of bronze, glass and textures. The intention was to create contrasts between strength and warmth, solidity and lightness, familiarity and surprise. Rather than allowing the constraints of the existing project to limit the design, we used them as an opportunity to explore a new material language and create unexpected moments throughout the interiors.

For me, this is where the most interesting design solutions often emerge: when a constraint pushes you beyond your initial ideas and leads you towards something you might never have imagined otherwise.

PM - While yachting has opened a new chapter in your career, your work continues on land, where the questions are different but the philosophy remains the same. When designing a private residence, how do you balance creating a home that reflects who the client is today with one that can evolve as their life changes?

MB - It is not always easy to strike the right balance, but this is precisely our role as designers: to create spaces that reflect the client’s habits, personality and way of life, while allowing room for change. This requires working closely with clients, engaging them in the design process and encouraging them to think about how they use their spaces today, as well as how their needs and lifestyles might evolve in the future.

At the same time, the aesthetic expression, the project’s clothing, if you like, must be timeless rather than dictated by passing trends. Above all, it must respond to its surroundings and feel rooted in its context. A project in Mustique cannot have the same character as one in Sweden, Verbier or an urban setting. Each place has its own identity, atmosphere and architectural language, and the design must respond accordingly.

Our aesthetic is contemporary yet classic, built around a careful interplay of materials that are durable, resilient, elegant and visually engaging. Contrasts play an important role in avoiding predictability and giving each space its own character.

We achieve this balance by combining bespoke pieces, designed specifically for a project, with carefully selected furniture and objects available on the market. Vintage furniture brings the charm and depth of the past, while contemporary pieces keep the spaces relevant to the present. Art, meanwhile, introduces another essential dimension: the client’s own personality, interests and sensibility.

Ultimately, I believe a home should feel deeply personal from the moment it is created, without being tied to a particular moment in time. The architecture and overall design should provide a lasting foundation, while furniture, art and individual objects allow the home to evolve naturally with its owners. The aim is to create interiors that remain relevant and meaningful over time, not because they resist change, but because they are built to accommodate it.

Rebecca Gabbi