Interview about Subkayak D46 Racing and Leisure Touring Kayak, winner of the A' Sporting Goods, Fitness and Recreation Equipment Design Award 2025
The Subkayak D46 is designed for both touring and racing, with a focus on performance and aesthetics. Its visual design features an optical separation into two distinct sections, giving it a recognizable appearance. The kayak supports various customization options through the use of 3D printed components. Elements such as rudder hatch covers and flag holders can be produced to order, allowing for adjustments in form, color, or branding. This approach enables users to personalize their kayak according to individual preferences while maintaining overall functionality and design.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsThe visual separation of the kayak into two flowing sections began as a stylistic idea, but it quickly turned into something more meaningful. I wanted the kayak to stand out instantly, not just as a high-performing product, but as something sculptural and desirable. The challenge was to find a way to express this character without disrupting the functional integrity of the hull, which had already been optimised for speed and efficiency by the Subkayak team.That’s where the split concept came in. Everything above the waterline was designed to be bold, angular, and expressive. But as the form transitions toward the hull, it becomes completely flat and smooth, just as it needs to be for hydrodynamic performance. This contrast between sculptural top and sleek bottom not only creates a striking visual identity, but also draws a clear boundary between expression and function.For touring paddlers, it gives the feeling of paddling something unique, something with presence. For racers, it subtly reinforces a sense of control and focus: the kayak looks fast, and that has a psychological effect. The visual split, enhanced by the painted line, becomes more than just decoration, it becomes a design feature that enhances the emotional experience of both performance and leisure.
The key was identifying components that weren’t structurally critical, areas that wouldn’t be exposed to high mechanical stress or wear. That gave us the freedom to explore customization without compromising the performance or safety of the kayak. The parts we chose for 3D printing such as logos, decorative inlays, and select cockpit features were ideal candidates for this approach.With today’s additive manufacturing technologies, these components aren’t a compromise; they’re a design advantage. They allow us to create complex geometries, personalized logos, or even one-off elements in ways that would be impossible or very expensive with traditional methods.What started as a visual upgrade quickly became something more meaningful. Paddlers are passionate about their gear, and offering them the ability to express their identity through small but visible elements adds an emotional layer to the product. It’s a performance kayak, yes, but it’s also theirs. And that sense of ownership matters.
Digitizing the a hand-built and developed kayak hull with millimeter accuracy was one of the most demanding parts of the project. Although we had access to a high-quality 3D scanner, capturing such a long, thin, and organically curved object came with challenges, especially around narrow or reflective areas where scan noise often appeared. The raw data needed a lot of cleanup and several rounds of surface reconstruction before it was usable for further surface modeling and CAD.Because the kayak had to stay strictly within regulated dimensions for length, width, and height, every surface had to be rebuilt with precision. Even a few extra millimeters in the wrong place could make the design ineligible for competition.Once the hull was accurately reconstructed, the upper section, everything above the waterline, was modelled from scratch. This is where the design freedom started. I combined my concept sketches with strict ergonomic and structural requirements to sculpt a new top body that visually redefined the kayak, while perfectly blending into the certified hull below. Finding this optimal transition was a very time consuming and meticulous ask.What made this process especially complex is that a kayak like this has no flat surfaces anywhere, every part is curved and continuous. Since the final model for production would be CNC-machined directly from the CAD, the surface quality had to be flawless. Any minor inconsistency would be visible in the reflections or even affect performance. So I treated the entire design like a Class-A surfacing job, balancing performance-critical accuracy with expressive form. It was like sculpting within two boundaries, freedom above the waterline, discipline below it.
The cockpit design is an area where personal preference plays a big role. What feels right for one kayaker may feel too narrow for another. Through our conversations with both amateur and professional paddlers, we found that comfort and freedom of movement were non-negotiable, even if it meant compromising slightly on the visual sharpness of the design.One of the key parameters we identified was the minimum distance needed between the legs for a comfortable paddling posture. That dimension became our hard limit, no matter how much we wanted to make the cockpit look sleeker or more pointed, we didn’t cross that threshold. Visually, a narrower cockpit would have looked more aggressive, but the feedback was clear that comfort comes first.The real design challenge was in how we resolved this ergonomically driven width with the rest of the kayak’s sculptural form. We had to carefully adjust the curvature around the cockpit to ensure it flowed seamlessly into the overall geometry, so it didn’t feel like a compromise, but rather an intentional part of the design. In the end, the cockpit improved accessibility, comfort, and also made the kayak more inviting to a broader range of users, without losing its aesthetic identity.
My approach to the D46 was influenced by both automotive and marine aesthetics, but more importantly, by a personal fascination with surface transitions, how a shape can feel dynamic, sculptural, or even emotional depending on how it catches light. I’ve always been drawn to designs that blend sharp, defined geometry with fluid, organic curves. In this project, I intentionally played with that contrast.From the automotive side, I looked at how sports cars use “strength lines” those sharp creases that run along doors, fenders, or hoods. I translated that into the area behind the cockpit, where a strong central line adds structure and motion to the form. But unlike in a car, these lines had to be carefully scaled to fit the long, narrow proportions of a kayak. The goal wasn’t to copy automotive design, but to reinterpret it for something that lives on water.Marine influences came mostly from yachts, particularly in how they present themselves in profile. I wanted the D46 to have a similar sense of presence and balance when seen from the side. The way the front and rear taper gives it a planted, stable stance, visually echoing the silhouette of larger boats.One detail I’m particularly proud of is the over-extending frame at the back side of the cockpit, behind the back of the user. While most of the cockpit rim maintains a uniform depth, this rear section extends much deeper almost like a spoiler or a yacht terrace. It’s where the D46 logo is embedded, and it serves both a functional and aesthetic role. To me, it’s a hybrid gesture, part marine, part automotive.
Vacuum infusion was chosen mainly for its ability to produce consistent, lightweight, and high-strength parts, three things that are critical for a performance kayak. The process ensures that the resin is distributed evenly throughout the composite layers, which helps avoid weak spots or excess weight. This results in a hull that’s light and structurally reliable.From a performance point of view, weight is very important. A lighter kayak accelerates faster, responds more easily to the paddler’s movements, and is less tiring to handle over longer distances. But it also has to be stiff and durable enough to maintain its shape under pressure. Vacuum infusion helps achieve that balance, it gives the kayak a clean, strong layup with minimal material waste, which also improves overall weight distribution. That contributes not only to speed and responsiveness, but also to a longer-lasting product that can withstand regular use without degrading over time.
I believe personalization will play an increasingly important role in the future of water sports equipment. While a kayak is primarily a performance tool something to train or race with it’s also an extension of the athlete’s identity. Choosing the color or finish has always been a personal process, and now we’re starting to see that extend to the components themselves.By allowing customization in parts that were previously considered “standard” or purely functional, we open up new territory for both design and innovation. Some of these changes may be aesthetic custom logos, patterns, or shapes but I think we’ll also start to see new ideas emerge by rethinking these elements entirely. Components that once had a single purpose might evolve to serve multiple functions or become platforms for accessories. As 3D printing and digital manufacturing continue to grow, I expect more experimentation, more individual expression, and a shift toward gear that feels more tailored to the athlete visually, ergonomically, and even emotionally.
One of the most defining moments for me came during a round of testing with 3D-printed scale models. Even though I have a trained eye for digital sculpting and can usually read mass and proportion well on screen, holding a physical model always reveals something new. I had printed several variations, each with slightly different surface transitions especially around the area behind the cockpit.I remember sketching directly onto one of the black scale models using a white pen, trying to explore different line flows. Instead of focusing only on the top profile, I let the line wrap around the body flowing down the sides and looping back under. That experiment led to the idea of using both the sculpted form and a change in paint color to create the illusion of two visually separated sections. Suddenly, the concept of a “split body” clicked —not as a literal construction, but as a visual effect integrated into the design.From that point on, the design began to crystallize. That one sketching session, with pen on plastic, shaped the overall language of the kayak and gave it the identity it has now.
While most users may not consciously recognize G3 surface continuity, they absolutely feel its effects. From a visual standpoint, it gives the kayak a sculpted, handmade quality. Light flows cleanly across the surfaces without awkward reflections or breaks, which creates a sense of visual calm and sophistication. That aesthetic impact often translates emotionally.But there are performance benefits as well. Smooth surface transitions improve hydrodynamics by allowing water to flow over the body of the kayak without interruption. This reduces drag and contributes to a more responsive, efficient experience, especially important in both racing and long-distance touring.There’s also a production benefit. I often think of the builders as users too. Each D46 is handmade, and if the mold they’re working with is CNC-machined from a high-quality, G3-continuous CAD model, there’s less manual sanding or correction required. That means a more consistent result, fewer imperfections, and ultimately a more durable kayak. Even structurally, sharp transitions or uneven surfaces can sometimes become stress points over time, so precision in the digital phase leads to longevity in the real world.
Winning the Gold A' Design Award for the D46 was a huge encouragement, not just personally, but as a validation of my design approach. The recognition confirmed that attention to form, emotion, and surface quality matters just as much as engineering precision especially in a product that’s ultimately an equipment used in motion, in nature, and in direct physical connection with the user.The response to the D46 showed me that when you treat a product not just as equipment, but also as a designed object, you create something far more memorable, something that resonates with both users and experts. It reinforced my commitment to putting equal weight on functionality and expression. A product can perform beautifully and look beautiful and when those two come together, it elevates the entire experience.
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