hudson 47 catamaran

Exclusive SuperCat luxury – Hudson 47 & 63

The Kit Carlier Design team has created the first of a new range of SuperCats to be produced by global powerhouse Hudson Yacht Group. And with naval architecture by Stimson Marine Design, nothing has been left to chance. Both models have been rigorously tested in an array of diverse scenarios using the same CFD technology implemented in the design of the Americas Cup AC75.

Hudson 63 Gliding into the spotlight is the large volume 63’ Power Cat, providing spaces typically found on larger motor yachts. The Hudson 63 boasts a full beam master suite, three spacious guest cabins, each with accompanying ensuites, and a large main saloon that flows out onto the vast aft entertaining space. Generous head height throughout, accompanied by the expansive atrium glazing (that spans both the saloon space and cockpit) gives the illusion of being in a much larger vessel.

The 15m 2 lowering platform allows for a 6.5m amphibious tender to be launched and retrieved and can also double as a beach club for other water sports.

With 1000hp a side and seven tons of lift from the foil, the Hudson 63 can cruise comfortably at 27 knots and cover over 1000 nautical miles, with 35 knots possible at full speed. Fuel consumption is approximately half of a similar size mono-hull and extraordinary seakeeping characteristics are provided by the asymmetrical, wave-piercing hull design.

If customised, the Hudson 63 can be constructed entirely in Carbon fibre, and when paired with water jets, can achieve 40 knots.

Hudson 47 The Hudson 47 shares the same DNA and striking appearance as its big sister, yet on a smaller scale. Passengers on the 47’ vessel will appreciate the numerous finer details, each executed to perfection, while enjoying spacious accommodation, generous head height, and plenty of glass to take in the views.

The starboard hull accommodates the master suite while the port hull houses two comfortable guest suites, all with accompanying ensuites.

The expansive main deck layout feels roomy, from the large two-seater helm station through to the large saloon and galley which flows out onto the same grand aft entertaining space that features on the Hudson 63.

Powered with just over 900hp, the Hudson 47 offers similar performance and seakeeping as the 63, with a cruising speed of 27 knots, providing a 500nm range on standard tanks and a maximum speed of 30 knots.

Sydney International Boat Show The Hudson 47 and 63 SuperCat designs are on show at the Sydney International Boat Show , Stand 43, running 3-6 August 2023 at ICC and Cockle Bay, Darling Harbour.

Partners of this project

• Hudson Yachts:  https://hudsonyachtgroup.com/
• Stimson Marine Design:  https://www.stimsonmarinedesign.com/
• Broker: Jules Luxury:  https://www.julesluxury.com/

“Sometimes something special occurs when designers, architects, and builders are willing to push for the next iconic marine creation. This new family of Hudson PowerCats is set to be the standard all others will aspire to. The styling can only be considered utterly beautiful, combined with incredible performance and a luxury finish throughout.” – Paul Hakes, Hudson Yacht Group

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EXCLUSIVE SUPERCAT LUXURY – THE HUDSON 47 AND 63

The Hudson 47 and 63 SuperCats are set to turn heads.

Whether they’re cruising the shores of Monaco, exploring the shallows of the Bahamas, or hosting A-listers at a secluded anchorage, the Hudson 47 and 63 SuperCats are set to turn heads in even the most exclusive surroundings.

The Kit Carlier Design team has created the first of a new range of SuperCats to be produced by global powerhouse Hudson Yacht Group. And with naval architecture by Stimson Marine Design, nothing has been left to chance. Both models have been rigorously tested in an array of diverse scenarios using the same CFD technology implemented in the design of the Americas Cup AC75.

The Hudson 63 boasts a full beam master suite, three spacious guest cabins, each with accompanying ensuites, and a large main saloon that flows out onto the vast aft entertaining space. Generous head height throughout, accompanied by the expansive atrium glazing give the illusion of being in a much larger vessel.

The 15m 2 lowering platform allows for a 6.5m amphibious tender to be launched and retrieved and can also double as a beach club for other water sports. With 1000hp a side and seven tons of lift from the foil, the Hudson 63 can cruise comfortably at 27 knots and cover over 1000 nautical miles, with 35 knots possible at full speed. Fuel consumption is approximately half of a similar size mono-hull and extraordinary seakeeping characteristics are provided by the asymmetrical, wave-piercing hull design. If customised, the Hudson 63 can be constructed entirely in Carbon fibre, and when paired with water jets, can achieve 40 knots.

The Hudson 47 shares the same DNA and striking appearance as its big sister, yet on a smaller scale. Passengers on the 47’ vessel will appreciate the numerous finer details, each executed to perfection, while enjoying spacious accommodation, generous head height, and plenty of glass to take in the views.

The starboard hull accommodates the master suite while the port hull houses two comfortable guest suites, all with accompanying ensuites. The expansive main deck layout feels roomy, from the large two-seater helm station through to the large saloon and galley which flows out onto the same grand aft entertaining space that features on the Hudson 63.

Powered with just over 900hp, the Hudson 47 offers similar performance and seakeeping as the 63, with a cruising speed of 27 knots, providing a 500nm range on standard tanks and a maximum speed of 30 knots.

The Hudson 47 and 63 SuperCat designs were on show at the recent Sydney International Boat Show

www.kitcarlierdesign.com

www.hudsonyachtgroup.com

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Hudson 47 and 63

The Kit Carlier Design team has created the first of a new range of SuperCats to be produced by global powerhouse Hudson Yacht Group. With naval architecture by Stimson Marine Design, both models have been rigorously tested using the same CFD technology used in the design of the America’s Cup AC75.

The large volume 19.2m (63ft) power cat provides spaces typically found on larger motor yachts. It boasts a full beam master suite, three spacious guest cabins, each with accompanying ensuites, and a large main saloon that flows out onto the vast aft entertaining space. Generous head height throughout, accompanied by the expansive atrium glazing (that spans both the saloon space and cockpit) give the illusion of being in a much larger vessel.

A 15m 2 lowering platform allows for a 6.5m amphibious tender to be launched and retrieved and can also double as a beach club for other water sports. Asymmetrical, wave-piercing hull design provides extraordinary seakeeping characteristics and fuel consumption is approximately half of a similar size monohull.

With 1000hp a side and seven tons of lift from the foil, the Hudson 63 can cruise comfortably at 27 knots and cover over 1000 nautical miles. Full speed is 35 knots  but, when constructed entirely in carbon fibre and paired with water jets, it can achieve 40 knots.

The 14.33m Hudson 47 is similar to the 63, but on a smaller scale: spacious accommodation, generous head height, and plenty of glass to take in the views.

The starboard hull accommodates the master suite while the port hull houses two comfortable guest suites, all with accompanying ensuites.

The expansive main deck layout feels roomy, from the large two-seater helm station through to the large saloon and galley which flows out onto a grand aft entertaining space.

With half the horsepower, the Hudson 47 offers similar performance and seakeeping to the 63, with a cruising speed of 27 knots, max 30 knots, and a 500nm range on standard tanks.

www.kitcarlierdesign.com https://hudsonyachtgroup.com/ www.stimsonmarinedesign.com/ https://www.julesluxury.com/

Simrad RECON

Smuggler delivers

Smart buoys – AI meets AC

Kōpū facility raises the bar

Catana 47 - 4 + 2 cab. HUDSON for rent in Tahiti (French Polynesia)

Raiatea (Tahiti (French Polynesia))

Lowest price from 31/08 to 07/09/2024

Price per 1 day

Price per 1 hour

Mandatory services:

- Essentials pack INCLUDED: full reduction of security deposit (0 € at base) // starter pack – (1 gallon water or 4 bottles of 1.5L, 1 bottle of disinfectant, 1 small bottle of washing up liquid, 1 dish cloth, 1 sponge, garbage bags, 1 roll of paper towels, 1 box of matches, 1 roll of toilet paper ... – ₽52,200

- Handling fees – ₽3,150

Optional services

Optional services:

Total price

Damage deposit

Catamaran Catana 47 - 4 + 2 cab. (2011)

• Bowthruster
• Air conditioner
• Electric Toilet
• Furling main sail
• Batten main sail
• 220V socket
• Air Conditioning
• Cockpit cushions
• Cockpit table
• Cockpit/stern, outside shower
• Electric anchor windlass
• Electric fans in cabins
• Electric winch
• GPS chart plotter
• Grill/Barbecue/Plancha
• MP3 Jack-Ipod
• Nautical charts
• Outdoor speakers
• Radio mp3 player
• Refrigerator
• Self tailing (manual) winch
• Snorkeling equipment
• Solar panels
• Swimming ladder
• Watermaker - desalinator
• Wind/speed/depth instruments

ADDITIONAL SERVICES

Availability.

Current base:

Frequently Asked Questions about yachting

Does this boat have insurance, do i need sailing certificate for bareboat charter in tahiti (french polynesia), am i qualified to rent catana 47 - 4 + 2 cab. bareboat, cancellation policy, booking procedure.

• Make online reservation (payment is not required)
• Complete sailing resume in case of bareboat charter
• Sign booking agreement electronically for the Catana 47 - 4 + 2 cab. charter in Tahiti (French Polynesia)
• Make down payment according to the agreement

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Okay By Me in America

Vladimir Ivanoff (Robin Williams), the Soviet musician who defects to America in Paul Mazursky's sentimentally satisfying new comedy, Moscow on the Hudson , walks around his new home in wonder, a man who hasn't yet learned what he should be afraid of. To be precise, Vlad doesn't defect to America, he defects to New York, that many-towered Babel where, as this movie has it, virtually no one speaks more than a few words of English. Understanding only fragments of what he sees and hears, Vlad isn't wary the way a native New Yorker would be, so he doesn't think it unusual that his best friend is a black from Alabama, a sort of internal émigré; his girlfriend an Italian; and his lawyer a Cuban who floated to Miami some years ago. In this democratic polyglot community, where foreigners confront ex-foreigners, and accents bounce off one another like bumper cars, even the Immigration Service is run by immigrants. ("Who's your boss?" demands an irate Hispanic gentleman who has been kept waiting. "His name is Ronald Ray -gone," says the lady official, in thickest Jamaican. "Now sit de f--k down!") Vlad fits right in.

In Moscow on the Hudson , all these people surprise us with their kindheartedness. They not only like Vlad, who is easy to like -- a solitary saxophone player in love with American jazz -- they also like one another. Moscow on the Hudson is Paul Mazursky's benevolent neo-melting-pot myth; it's about how Babel's towers reach to heaven. Though some of the movie may strike us as naïve or false, we're pulled along by the sweet dreams of a director with so broad and instinctive a sense of human solidarity.

Halfway through The World According to Garp , I began to think Robin Williams might need weights in his shoes to keep from floating in the air -- he was that insubstantial. But this time Williams is securely grounded; he has a real character to play, and he's extraordinarily touching. Bearded, and hairy as a Russian bear, he's a small, nearly innocuous figure in the Moscow scenes, clutching himself against the cold, grimacing at the sight of a three-hour waiting line for toilet paper. Like many citizens of Eastern Europe, Vlad has developed certain defensive strategies. When Jewish protestors are hauled off in black cars, he looks the other way; at the one-ring circus where he plays in the orchestra, he ritually bribes the K.G.B. agent assigned to keep an eye on the performers. His best friend, Anatoly (Elya Baskin), the circus's star clown, is a maudlin fellow with a woebegone rubber face and flapping arms, a noisy complainer whose indiscreet miseries could get them both in trouble. Vlad hates the Soviet Union, too, but he keeps quiet about it. Williams gives him a small, enigmatic smile -- almost a memory of a smile; he makes him a man in a deep freeze, passively accepting despair.

Using Soviet-émigré actors here and in Munich (which doubled for Moscow), Mazursky creates an intensely Russian atmosphere of silent paranoia and strangled exuberance. Vlad's family, with whom he lives in a standard, cramped Moscow high rise, are all professional entertainers, including Vlad's grandfather (Alexander Beniaminov), an enraged, disappointed old man whose half-cracked tirades against the state are always causing a scandal. Williams speaks Russian along with the others, and he's convincing enough, though the native Russians have a guttural sound he can't match. In a great moment, Vlad sings a forbidden Duke Ellington song he calls "Take A Train," and the whole family joins in with shouts and cries but completely off the beat. I don't know if Paul Mazursky could dramatize a scientist's or writer's hunger for intellectual liberty, but his understanding of an entertainer's need for freedom is instinctive -- the need is inseparable from the expressivity.

Mazursky's touch in these Russian scenes is astringent and rueful; the American stuff is much broader. The circus troupe, in New York on a tour, stops at Bloomingdale's, and the Russians become hysterical at the sight of the ground-floor glitz -- designer jeans, lingerie, and sunglasses -- a joke that turns a little sour, I think, on reflection. Anatoly chickens out, but Vlad, taking advantage of the pandemonium, swallows down his nausea and fear, and defects. It turns out he's abandoned a one-ring circus for a three-ring circus. Capitalism offers Vlad a riot of superfluity. In a hotel, he sniffs at the scented toilet paper like an ecstatic bloodhound; later, faced with innumerable brands of coffee to choose from in a supermarket, he faints from indecision.

Mazursky and his collaborator on the screenplay, Leon Capetanos, prepared for the movie by interviewing émigrés, and long sections of the screenplay have the feeling of strung-together anecdotes. Many of the jokey anecdotes are very good, but I wish the filmmakers had sent Vlad reeling through American society in the course of a story and had then folded their satirical observations into it. The way it is now, the movie feels randomly inclusive and jerry-rigged. Vlad is made to race from one job to another; the black security guard (Cleavant Derricks) who protected him from the K.G.B. when he defected at Bloomingdale's becomes his best friend, a friendship that's made the occasion for some liberalizing (pleasant to hear, but not really to the point) about the condition of blacks in America; he falls in love with Lucia (Maria Conchita Alonso), a Bloomingdale's salesgirl, and though Miss Alonso, a pop-singing star in Venezuela, is a lovely performer, her role is conceived as something of an object lesson. Along with dozens of weeping émigrés of every color and nationality, Lucia takes the oath of citizenship; the sequence raised a lump in my throat, but it also smacks of American self-congratulation.

In a word, Moscow on the Hudson should have been tougher. Scenes of affection and reconciliation come almost too easily to Mazursky, who is so eager to find the humanity in everyone that he sometimes flattens people out. (Evil and malice, after all, are human qualities too.) I find it hard to believe, for instance, that Vlad and his friends, each from a different immigrant group, would go dancing and hang out together. Isn't it more likely that each of the new arrivals would stick with his own tribe? Alas, the movie's family-of-man spirit feels like a crock. To achieve it, Mazursky willfully ignores some of the obvious divisions, such as the tribalization of commerce. It might have been funny, for instance, if Vlad had tried to open a produce stand or a coffee shop and had run into some indignant Koreans or Greeks. If Mazursky had confronted some of this, the movie's "I love America" sentiments would have earned our respect as well as our affection.

Yet Robin Williams's performance holds up. His Vlad comes alive in New York; the city's buzzing disorder makes him gregarious, hopeful, and ready to connect. And though Williams gives a performance of immense sweetness, he's not pulled down by the movie's sentimental tone. When Vlad gets the chance to play the sax with one of his favorite black jazz players, he doesn't make out too well. He's not good enough, and maybe he'll never be good enough. America the bountiful can't solve all his problems. What it can do is give him the opportunity to enjoy life. For a man who has always embraced misery, it's an immeasurable gift.

Related pages

• Moscow on the Hudson Main Page
• Review ::: Okay By Me in America