The new J Class Svea was launched at the end of January and has begun sea trials in Holland. The 43.6-metre yacht is a Tore Holm design dating from 1937. The designs were discovered by the specialist John Lammerts Van Bueren around the year 2000, no-one had known that Holm had designed a J back in the 1930s. Modern design work has been carried out by Andre Hoek architects and the boat was built and launched at the Vitters yard, which joined forces with the more famous J-yard of Claasen this time last year.
Svea’s original design included a very flush deck with a famous “blister doghouse” and spartan interior but her owner has opted for a more traditional doghouse (and interior) in keeping with the other Js in the fleet.
The J Class now consists of the “original three”: Shamrock V J K3 1930; Velsheda J K7 1933; Endeavour J K4 1934… and now five new yachts: Ranger J 5 2003; Hanuman J K6 2009;  Lionheart J H1 2010; Rainbow J H2 2012; Topaz J 8 2015. Svea, J S1 swells their ranks to nine with all except the smaller Shamrock V expected to steal some of the limelight  when they duke it out at the America’s Cup event in Bermuda this coming June – see Classic Sailor events pages.
Svea

At Bloemsma © John Lammerts Van Bueren

                                   

At Vitters

 

 

 

 

 

 

 

John Lammerts van Bueren describes how the new J came to be

In August 1937, America had again successfully defended the America’s Cup, with the awesome J-Class sloop Ranger.. That momentum probably inspired Tore Holm to make a preliminary design as a possible Swedish challenger for the ‘Auld Mug’. Tore Holm was an avid sailor of keelboats. Between 1920 and 1932, he twice won a gold and once a bronze medal at the Olympics in the 6- and 8-Metre Classes. As Sweden’s foremost naval architect of Skerry Cruisers and yachts under the International Rule (IR), Tore Holm had a highly influential and very wealthy clientele. The Royal Swedish Yacht Club, Kungliga Svenska Segel Sällskapet (KSSS) was a true powerhouse of wealthy industrialists, ship-owners, and bankers. Among them, of course, was the Wallenberg family, who had major interests in Skania, SKF, Nobel Industries,  as well as the Stora copper mines, pulp and paper industries.. Another well-known client was the Salén family, one of the largest ship-owners from Stockholm. Both families owned a string of metre yachts built from designs of Tore Holm. Gustav Plym from Saltsjobaden already had a worldwide reputation as a supreme yacht-builder, and so it is no wonder that the discovered J-Class design was a joint project of the two masters of Swedish yacht construction. Tore Holm was most likely dominant in the design and rule calculations whereas Gustav Plym most likely took on the construction challenges of Sweden’s first J-Class yacht. Tore Holm had a reputation for a highly intelligent and innovative ‘avant garde’ approach to yacht design. His boats were mostly designed to the very limits of the rule, often on the edge, thus challenging the rule-makers. Tore Holm would, however, never compromise on beauty; his designs stood out through elegantly stretched overhangs and a pronounced sheer.

Tore Holm believed in length and under any rule he would design to the maximum, both in the waterline as well as in overall length. Juggling with numbers, the reduction of girth penalties and measured length had been his signature all along. He was a mathematician with the eye of a true artist, and this J-Class design was another example of his talent and vision. Designed to the limit of the rule, this ‘J’ had the maximum waterline length of 87 feet and a displacement to the maximum without penalty. Sixty-five years later, individual comparative fluid-design computer studies were conducted by Guy Roland Perrin (America’s Cup measurer and AC Technical Committee), Jacques Fauroux (Naval architect) and Gerry Dijkstra, (Naval Architect). These sudies compared the known performance of the 10 J-boats built to the Tore Holm design and unanimously indicated that the Tore Holm boat is probably the fastest J-boat ever designed. Whether Tore Holm and Gustav Plym were successful in selling the project within the KSSS is not known. To date, no documents have been found proving whether the KSSS members seriously considered a challenge for the America’s Cup. The thought that Marcus Wallenberg Jr and Sven Salén were somehow involved seems valid. Tore Holm was a regular crewman on the 8-Metre Ilderim with Marcus Wallenberg Jr, and they had just won the prestigious Coppa d’Italia at Genoa. Most likely, the idea for an America’s Cup challenge was discussed during one of their long journeys abroad, and the design had probably been subject to review and discussions with Marcus Wallenberg Jr and Sven Salén at the impressive facilities of the KSSS on the island of Sandhamn. On request of John Lammerts van Bueren, Mr.Dyer Jones, director of the America’s Cup and Commodore of the NYYC assigned a research in the NYYC archives but to date, no record of an official challenge has been discovered at either the KSSS or at the New York Yacht Club. Circumstances at the time did not encourage such a costly project: King George V had passed away the year before, and with him passed the ‘big boat’ scene in Great Britain. The Royal yacht Britannia, which for decades had been the ultimate promoter of the big class, was soon scuttled at sea. Add to this the political circumstances at the time: the Second World War loomed, and thus it was clearly not a good time to consider a challenge for a trophy in waters so far away from home which would require the construction of the most expensive of all racing yachts. No correspondence or notes on the design have been found in the archives in Stockholm nor have any published documents been found. The design, comprising a lines drawing, midship section, construction plan, and sail plan, remained in the archives near Stockholm to surface half a century later by a lucky coincidence. When John Lammerts van Bueren and Fred Meyer had bought the remains of a wrecked, Tore Holm-designed International 8-Metre  named Cagg, the extensive restoration required reference to the original plans. In an attempt to find the original drawings of this 1930 design, John travelled to Stockholm to visit the daughter of the late Tore Holm as well as the National Maritime Museum. Much to his surprise, the majority of the Holm archives had been kept in storage at Birgitta Holm’s residence. She offered to sell the drawings, and John contacted Per Wermelin of the well-known Djurö Båtvarv in the archipelago of Stockholm. Thanks to his help and a gracious offer from Mr Jacob Wallenberg, the collection was acquired in the year 2000 and transferred to the Stockholm Maritime Museum. While browsing through the archives, John’s heartbeat stalled when he pulled the drawings marked ‘KSSS J-Båt’—a stunningly beautiful design for a J-Class yacht. Lines, sail plan, midship section, and construction plan, it was all there as a preliminary study, and none but a few eyes had ever seen them before.

The lines clearly carry the signature of Tore Holm.. She has the greatest overall length of any J-boat design. In many other respects, she was designed to the limit of the Universal Rule: a maximum waterline length of 26.52 metres (87 feet), maximum unpenalized displacement of 163 tons, maximum height of sail plan 46.8 metres, and a minimum beam of 4.57 metres (15 feet). J-Class yachts sailing in British waters were required to have a companionway deckhouse with a minimum surface of 44 square feet. The Swedes apparently had no such intention and she was drawn almost flush decked, very much in line with the American J-Class yachts. Enquiring with some Swedish friends who had seen the drawings before, the name Wasa surfaced. Copies of the plans were made and sent to Per Wermelin and to Elizabeth Meyer, whom John had met during the rebuilding of Endeavour at the Royal Huisman Shipyard in Holland. Since then, the wheels have been in motion. Elizabeth sent a copy of the plans to Gerard Dijkstra in Holland for an initial study and plans proposal.

His preliminary computer simulations indicated the design to be as fast as or faster than the ‘Super J’ Ranger. Meanwhile, Elizabeth wrote up the specifications and incorporated a company to form a syndicate to build the boat. For a moment it looked as if Jim Clark would build the boat, but then he opted for Endeavour II. His wish to have today’s systems and extensive interior while floating her on the original lines led to the choice of aluminium for the hull. His plans were rejected by the newly formed J Class Association that was the end of an exciting possibility to have another J boat built.

In Sweden, Per Wermelin had similar plans and was pushing hard to have this Swedish design built in Sweden. As the owner of Wallenberg’s last 8-Metre Ilderim, Per has a serious soft spot for Tore Holm designs, and as a master of the self-fulfilling prophecy, Per forged ahead with his plan and Elizabeth shelved hers in support of the Swedish venture. Her enthusiasm for the project led her to travel to Sweden, lecturing on the J Class and promoting the project. Her presence certainly contributed to the acceptance and feasibility of the project, and subsequently a Swedish syndicate was formed. Headed by Per Wermelin, Richard Kahm, Mats Selin, Gunnar Ekdahl and Rolf Gustavson, the syndicate papers were drafted and the team worked to find the finances and opportunities to make the project happen. The initial project name was Wasa, thought to be a combination of Wallenberg and Salén. Happy that no evidence was found to support this name much associated with the unlucky battleship that sank 10 minutes after her launch the name Svea was chosen, a female name originating in the Viking era.

Sweden’s foremost designers Pelle Petterson and Ocke Mannerfeld are now on-board as naval architects, and the likelihood for J S-1 to be built is greater than ever.

 

When the long-lost drawings of one of the most beautiful J-Class yachts emerged from the old archives in Stockholm, the torch of Tore Holm and Gustav Plym was passed on to Per Wermelin and his friends. The lines of this beautiful design caught their imagination and re-created a 65-year-old dream to have a J-Class moored at the KSSS in Sandhamn. As the original was never built, Svea will not be a replica—she has the soul and rights of an original. This time around the odds are on their side, and there is no reason to doubt Svea will be be launched down the ways in Scandinavia.

 

Original construction specifications for Svea – Tore Holm and  Gustav Plym

Design                                                             AB Tore Holms Yachtvarv

Tore Holm and  Gustav Plym

Year                                                                1937  (December)

Length overall                                                 41.50 metres

Length on waterline                                        26.55 metres

Beam                                                               6.40 metres

Drauht:                                                            4.57 metres

Freeboard (midship)                                       1.57 metres

Displacement                                                  163 Ton

Ballast                                                             100 tons

Ballast ratio                                                     61%

Measured sail area                                          704 m2

Mainsail                                                          450 m2

Fore triangle (measured)                                254 m2

Fore triangle (actual)                                      298 m2

Mast height above deck                                  46.8 metres

I Measurement                                                38.5 metres

J Measurement                                                15.5 metres

Boom length                                                   20.2 metres

The original construction specification was  most likely assigned to Gustav Plym. Plym’s Neglinge Varvet in the city of Saltsjobaden held a worldwide reputation as the finest yard in Sweden. Their craftsmanship was unchallenged and Gustav Plym would have put his intellect as well as the finest materials into each construction detail. The hull was to be constructed in steel, riveted flush and welded. The topsides were to be smooth by inverting the overlap of the strakes toward the frames. In order to maintain structural integrity, the frames were dented to allow for plate overlap. The plating above the waterline was designed at a thickness of 9.65 millimetres for the center  two-thirds of the waterline length and 6.25 millimetres at the outer ends. Below the waterline the plating was designed thinner, 6.9 millimetres tapering to 6.25 millimetres at the ends. Five large web-frames have been drawn on each side, built from steel plate of 9.9 × 278 millimetres. The bilge stringer, an important member to ensure longitudinal stiffness of the hull, was drawn in steel plate of 4.8 × 457 millimetres. Most of the plating was chosen to be 635 and 712 millimetres wide. The deck plays a key role in the overall stiffness of the construction. Plym opted for ten diagonal braces evenly spaced over the waterline length of the hull. The deck itself was drawn light and stiff. A 63-millimetre-thick, quarter-sawn spruce deck was to be laid over 63 × 63 millimetre bulb-angle profiles. A margin plate riveted to the outer contours of the hull added to the stiffness and strength. This margin plate was 6.6-millimetres thick and 762-millimetres wide and was tapered at the ends to 5.3 × 548 millimetres.  Under the laid spruce deck the ten diagional braces, 6.1-millimetres thick and 610-millimetres wide, were connected to the stringer plates. The final deck structure was designed to be light and tremendously strong. This, however, was not uncommon in the construction of the J boats: Ranger was similarly constructed. In the area of the mast, the diagonal braces were positioned so  the mast would passed through the centre partners of the crossing. At deck level, Plym opted for a mast passage construction, giving additional stiffness to the hull with better control of the lower panel of the mast. There was no wooden covering board: rather, the outer deck-plank would butt against rolled steel angle-bulb profiles of 63 × 63 millimetres.  The lower deck was drawn as an integral part of the structural design of the boat. Six diagonal brachings link the two sides of the boat, and a 4.8 × 458 millimetre sole margin plate has a repeat function of the one described on the upper deck. The construction was somewhat lighter than that of the upper deck.

Again, the deck was drawn in wood, a lightweight spruce, just 38-millimetres thick. Steel pillars, evenly spaced at 1.2 metres over the centreline of the hull, connected the keel plate with the lower deck and, in turn, the lower deck with the upper deck. These pillars had a diameter of 50 millimetres and a wall thickness of 5 millimetres. and functioned as a lightweight longitudinal bulkhead, giving extra stiffness and ensuring that the narrow hull would not deform under the tremendous load of the rig. The Universal Rule had no restrictions on the use of materials for the mast, but at the time of design the most obvious choice would have been aluminium. The Americans had far more experience with building such large aluminium spars. The American designer Nathanael Greene Herreshoff had built steel masts earlier in the century for spectacular yachts such as Reliance. The Swedes were new to the game, but it is fair to assume that Tore Holm and Gustav Plym opted for a steel mast. This assumption is based on the fact that shortly after the design of this  J-Class yacht was presented, Tore Holm received an order for an Int. 8-Metre from Marcus Wallenberg Jr for his next Ilderim, with which to defend the Coppa d’Italia.. This boat had a steel mast, probably the first-ever steel mast on a small metre boat. Ilderim successfully defended the Coppa d’Italia, and her riveted steel mast stayed on the boat until the early 1990s. Rod rigging, in those days better known as lenticular rigging, was long known and applied in Scandinavia. It was the standard on the sleek Skerry Cruisers and the best of the International Rule boats. The Swedish steel and shipbuilding industries were world renowned and would have faced little challenge building a yacht the size of the Swedish ‘J’.

 

Tore Holm (1896-1977)

A brief biography

Tore Holm, the second son of Knut Holm, was born in Gamleby, a small town on the Baltic Sea, south of Stockholm, Sweden. His father ran Knut Holms Batvarv, which was well known for the fine workmanship and quality construction of racing yachts. He learned the about boatbuilding and aesthetics in the 10 years he spent in the USA and when he returned to Gamleby he founded Knut Holms Batvarv. Not having a shed ready in time for his first order he decided to build the boat inside the house. When the boat was ready he had to choose whether to dismantle the boat or dismantle the house. “What’s a house compared to a boat?” said Knut, and the walls came down. The boat was called Bris and sailed the newly establish Knut Holms Batvarv to fame that very summer. Tore Holm grew up with boats and started to help in the boat yard at the age of five. The family was culturally rich, both father Knut and mother Anna were active opera singers and his sister Magda would become a celebrated actress. Magda was in a class of her own, a natural sailor who stunned the sailing world in the twenties by gracefully sailing her 40m2 Skerry Cruiser single handed and racing her Star boat in the Sandhamn Regatta with an all girl team.

In 1922 Tore graduated from the Royal Technical University in Stockholm but even before that time he started drafting sailing boats. At the age of 19 he drew his first Skerry Cruiser “Mayflower” followed by his first breakthrough design Sif with which he won the Gold Medal at the Antwerp Olympics in 1920. His approach to yacht design was a rare combination of mathematics and art. Always searching for the borders of rules, Tore sometimes designed extreme yachts, which resulted in changed handicap rules. He designed a 95m2 Skerry cruiser with over 20 metre length, which totally dominated the class until the rules were changed to level the playing field. The lack of definition of cabintops and deck camber lead Tore Holm to design boats with extreme deck cambers in the area of the mast which increased the height of the sail plan. Good examples are his 6-Metre Ali Baba and 8-Metres Ilderim and Altair. Again the IYRU called a meeting to change the rules and define a point from which the height of the sail plan was to be measured. Tore Holm would usually design his yachts as narrow and long as the rule would allow but with every yacht his signature remained, a beautifully pronounced sheer line and stretched overhangs. His most famous offshore racing yachts are Havsornen I and II.

Both built for Sven Salén who raced them hard and held the record Gotland Rund for many years. A combination of grace and power would typically distinguish his Metre boat designs made under the International Rule, under which rule he designed some of his most famous racing yachts. A family of six metres names Maybe was designed for Sven Salén at a pace almost equalling models for tank testing.

The innovative drive of Sven Salén is probably best illustrated during Genoa Week in 1927. On his 6-Metre Maybe he sheeted a large balloon jib tight when going to windward and the result was an outright victory.  Of the 11 editions of the One Ton Cup sailed in the 6-Metres, 10 were won with designs by Tore Holm. The Coppa d’Italia was the most prestigious trophy in the 8-Metre Class; Tore Holm wrote history by supplying the winning 8-Metre 5 consecutive times. His designs won 5 Olympic medals between 1920 and 1952 and as a talented sailor he often helmed boats for clients and friends. Tore Holm long held the record for the most successful Olympic sailor with 4 medals won between 1920 and 1948. His record was later matched by few but never improved. Paul Elvstrom, Valentin Mankin, Jochum Schuman and Torben Grael are the men that followed in his Olympic footsteps.

AB Tore Holms Yachtvarv in Gamleby employed around 20 of the finest craftsmen and was kept busy by elite industrialists and bankers from Sweden and Finland. Financially the yard remained marginal and his meticulously kept financial records showed that some of the most famous yachts were built at cost or even a small loss.  Helping the yard stay in business,  his loyal and wealthy customers – men like Marcus Wallenberg Jr. and Sven Salén  – would order new boats in time to keep the yard busy. To the outside world Tore Holm was an introverted and quiet man but his standards of yacht building were amazing. If a plank did not fit by the third try, Tore Holm insisted his craftsman had to start all over with a new piece of wood. The clients approval weighed less than the demanding perfectionism and eye of Tore Holm. If a cabintop, always regarded as a work of art at Holms Yachtvarv,  was not to his satisfaction, it was removed, regardless of the client’s approval. Holm sought and found new construction techniques. As early as 1930, his yard was hard-gluing plank seams to increase the stiffness of the hull.  He also experimented with new materials, rubber intarsia in the cockpit floors and introducing riveted steel masts and rod rigging to 8-Metres at a time these were only used in the big J-Class yachts. All components of the yacht, right down to the bronze fittings were custom designed and produced by the yard.

 

In delivery the boats would be ready to sail in every respect; even the galley would be supplied with ample food and drinks for the new owner to enjoy his first sail from the yard to his yacht’s new home.

Despite his stunning success on the racecourse Tore Holm did not break through internationally. Unlike his contemporary colleagues abroad he did not actively seek work outside his home country. His idealist nature, combined with his lack of interest in money-making and his difficult and introverted character contributed to his lack of international fame. After building close to 700 of Sweden’s most beautiful wooden yachts Tore Holm refused to adapt to fibreglass construction and when his health declined he finally closed the yard in 1967.