Robert Blazejak: the yacht designer who blends opposites
The first impression you get when meeting Robert Blazejak is of someone extremely self-assured, solid in his decisions, and precise in defining his references. In short, he seems to align with the stereotype of limited adaptability that we Mediterraneans often attribute to anyone from beyond the 45th parallel, even more so if they were born east of Trieste (and for some, even being born east of the Apennines suffices).
However, as you delve into the work and philosophy of the Polish designer, you discover he is the man of compromise—not so much in a political or existential sense, but in terms of creative production.
His work for the newly established Dracan Marine shipyard, showcased by their debut vessel, the intriguing Dracan 42 motor catamaran, which premiered at Cannes, has once again highlighted how blending diverse elements from various contexts can result in something fascinating, flavorful, and novel.
"You can look at anything and find inspiration for what you’re designing, even if it’s not a boat. Solutions from the luxury world can be implemented to make them accessible even on less expensive boats. Surfaces can be transformed into volumes, making them more fun to model and more interesting to live with. Strong, decisive lines can coexist with a colorful, joyful boat." This encapsulates his weltanschauung, a term scholars use to describe one’s "worldview."
Robert Blazejak started his career in the UK, initially aiming to design cars. He worked at Zaha Hadid’s studio, led by one of the most influential architects active between the 20th and 21st centuries. There, he learned to work with 3D modeling. "I enjoy working with a good pencil and paper, just as I appreciate using 2D and 3D software to aid the architect’s work or create renderings to preview the final outcome," he says. He also absorbed the “work ethic needed for team collaboration.”
Then came the 2008 financial crisis, which clipped his professional wings, forcing him to reorganize before taking off again.
I had polished my career in architectural offices, although I was not a trained an Architect.I had always dreamt to become a car designer until I found my calling as a boat design "You must never stop; it’s essential to keep learning something new." This approach allowed him to merge an artistic perspective with a technological foundation. His debut in boat design came with Sunreef, a company established by a French entrepreneur in Poland, which heavily contributed to making luxurious motor catamarans the new must-have in the boating world.
Within Sunreef, where he worked on projects such as the massive Sunreef 210 trimaran, Robert realized just how sexy multihulls could be made. "For years, catamarans were terribly ugly to look at. The belief was that having more space would be enough to make people fall in love with them. But that’s a mistake because even the most passionate owner buys a boat with their eyes first. They fall in love first, then justify it rationally afterward. And let’s not forget that today, many owners view boating as just one of many leisure activities, unlike 30 years ago when it might have been their primary passion."
Blazejak eventually left London, returning to Gdansk, Poland. In 2016, he opened his own studio, Blazejak Yacht Design. "If I had known the commitment and effort required to keep it alive and growing, I’m not sure I would have started it," he admits with a laugh. He began working with renowned shipyards like Windy and Fairline before realizing his vision for a motor catamaran "as Blazejak commands it": the Code Breaker, unveiled in 2017.
The name reflects its essence: a rule-breaker. "Sexy, functional, attractive, and different from what the market already offered—not looking like the neglected stepchild among motorboats." This 40-foot catamaran was designed to compete with monohull tenders, boasting significant advantages such as stability, shallow draft, and an expansive deck area. It featured a transformable design across four decks, including a glass section, with expandable walkways and retractable roofs.
From this trial balloon to Dracan Marine was a short but crucial step. With the Dracan 42, he demonstrated how to create a beautiful catamaran (aesthetics are subjective, but proportions are not) that is balanced, spacious, and capable of introducing innovative solutions below deck, particularly in the sleeping quarters housed within the two hulls.
"With Dracan (a commercial spin-off of Model Art, one of the world’s leading fiberglass hull molders producing over 3,500 boats annually for top shipyards), I found an industrial reality ready to transform the market. Financial solidity, highly skilled experts, and a new generation eager to grow."
This partnership enabled Robert to advance his work, grounded in observation, study, and analysis of what’s missing in catamarans and how to enhance their essence. He balances advantages and disadvantages while aligning with an industrial product that must meet standards of efficiency, cost control, and technological constraints: "I understand the dynamics of boatbuilders; I’ve spent significant time in shipyards. That’s why I strive to blend sex appeal with assembly-line practicality."
On this 13-meter catamaran, several features are unprecedented in the world of twin hulls. For instance, the outboard engines are concealed within a "box" that doubles as a sunbathing area, creating room for two large sun pads and a split dinette accommodating 12 people around two tables. The forward dinette is also comfortable and sheltered during navigation—on a planing catamaran capable of speeds exceeding 25 knots.
Other standout features include the modular layout offering 2 to 4 double cabins. The owner-focused version, with only four berths, provides unparalleled space for boats of similar volume and configuration. Meanwhile, the charter-oriented version with 8 berths is deemed "impossible to achieve on a similarly sized 40-footer," according to Robert. Yet he emphasizes that the primary purpose of this boat is day use: "Outdoor spaces were prioritized over interiors."
What struck me most, beyond Robert’s vision, was his clear understanding that the designer doesn’t "make" the boat. For him, it’s unthinkable to label a model XYZ as the boat of [name of architect], because the designer is just one—albeit crucial—part of the process. "It’s a team effort. There are countless factors to consider, design, install, and finalize. Creating something beautiful but unbuildable makes no sense."
Similarly, Blazejak criticizes the “creative laziness” of major French shipyards, which have cloned the same catamaran at various scales without bothering to make them more appealing or updating their stylistic, technical, or functional choices. On the flip side, he champions bringing solutions from luxury yachts to smaller, more affordable boats, making them accessible to a broader audience of boaters.
"There’s still so much to do in the multihull world. The creation process takes a long time—sometimes up to eight years to see the concept come to life. From the initial idea, it moves through project development, technical implementation, production planning, and eventually the completed boat, which still requires fine-tuning. Ultimately, you have to like it and feel comfortable ‘inside’ it. Trust your senses; believe in what you feel. That’s my guiding principle, whether professionally or personally. After all, what you create professionally is like your child—you can’t help but relate to it emotionally."
To conclude, how does a forward-thinking designer like Blazejak envision changing the future of multihulls?
"I want to change how boaters perceive catamarans. I want them to understand the philosophy behind such boats, to find them as fascinating as monohulls. I want them to consider cats as ‘boats’ with different qualities, not as ‘ugly but useful’ objects. I’m working on the idea of an explorer cat with a different design language. In this respect, I am redefining multihulls.
I find the work of Bluegame and Arcadia very interesting—they’ve managed to offer something truly different from what’s already out there."
Giacomo Giulietti
