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september 16, 2015 - Rossinavi

Rossinavi Presents "My Taransay" at the Monaco Yacht Show 2015

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To look at the Taransay means to turn back and understand our own identity: Rossinavi is the mother of an “anciently new” piece of work, in which a Scottish model from the past finds its own space in the modern naval building industry, setting itself as the unit of measure of a traditional, yet still contemporary, aesthetic. Details, particulars, objects. Handmade pieces from a past era, blurry-outlined silhouette moving the waters, echo of an old project which stimulates visions and constructive solutions complying with the measure of Art: the more complex and unique the target to reach, the more experience and brilliance of talent required. And the more particular the project, the more capability of absolute personalization. Once the project had been drawn up, thanks also to the data on the original Taransay found at the Aberdeen museum, it became necessary to find the right shipyard capable of giving it a new life. Among the selected thirteen shipyards was Rossinavi, already well known for its ability to work on custom-made projects (years before it took part in the refitting of a famous ship of the time, the Lulworth) with genius intuitions from the mechanical workshop and alternative solutions originating from the carpentry tradition. “The ship master, once arrived at Rossinavi, despite still needing to visit a few more shipyards, actually stopped there and took his decision: the Taransay was to be a Rossinavi,” confirms Claudia, beaming. Rossinavi has welcomed in its port the idea of the Taransay, a boat from the Thirties used as a fire engine vessel in the Royal Navy during World War II. Rossinavi became the natural interpreter, giving a body to the spirit of tradition. Building the Taransay meant, first of all, starting a process of accurate historical and material reconstruction of meanings. Lost techniques, unfindable objects, handmade products recreated from reinvented materials. No detail was to be out of focus: the beauty of a historical image lies in its truthfulness to that period, its structural adherence of meaning. If the material or the specific object is already on the market, that is all the better. If not, it is made at the Rossi's, who do not contemplate the nature of compromise when at stake there is the quality of tradition to be reflected in the sea. Claudia remarks this idea, making it seem simple and quick just like a finger snap: “We created ex novo all accessories out of a material which didn't exist on the market (Nibrall)”. This surreal perfection, suspended in a floating bubble, is the actual impression one gets when seeing the Taransay for the first time. Not a ship, not a product, but a hand-made grammar speaking the language of knowledgeable movement settled into experience, of the magically renewed cyclicity which is the developing of history through common projects of individual wills.

 Finding the correct balance to achieve the Nibrall at the foundry was for the Taransay like having the best tailor-made historical costume, made with the rarest and richest fabrics, or even of brand new production. Modern ships’ traditional clothes, worked in polished stainless steel, were not suitable for the Taransay's historical-line-drawn aesthetics. “ The superior deck originally held small cranes to lower and raise service boats,” highlights Captain Santoro, “but thanks to one of Paride’s brilliant ideas, we have installed a hydraulic crane which can fold and disappear from sight when not in use, thus avoiding the ‘fist in the eye’ effect.” In this way the elegant lines and yacht silhouette were not spoilt. The crane can handle a 5 metre-plus tender, and at the same time the other small cranes have been kept, now used for the deck speakers and the superior deck’s lighting, and also to hold in place a large awning covering parts of the deck when this is open…” To see such a ship in a port is to observe the materializing of history in the water. The Taransay is therefore a nautical time machine, a suggestion of what came before us. For this reason, it releases such a powerful strength, a continuous seduction, an emotion to be captured with all means available. As there cannot be any imagined sound without an ear to hear it, a desired sensation with no hand to touch it, a refined scent with no nose to welcome it in, or any flavour with no mouth to taste it, Taransay is the immediate, living expression of the naked body of a ship, a language with an epidermal style awakening all senses, tangible testimony of the fact that Rossinavi is a natural organ of excellence, embracing past sensations and giving them back fully pure and truthful to today’s history. 

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