Actually, Britt Lange and Robert Schmidbauer weren’t looking for a new boat when they were sailing through the western Swedish archipelago in 2013 on their then 31-foot Laurin-Koster. A spell of bad weather not only changed their holiday, but also drastically altered their lives for the next ten years. “We’d heard from a Laurin-Koster community about an old, larger boat that was apparently for sale somewhere near Gothenburg, supposedly on land. Supposedly cheap. Supposedly a good candidate for a refit.”
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When they finally found it, it wasn’t on land, but next door in the old harbour at Långedrag. And at first glance, there was little to suggest it was ‘salvageable’, says Britt. The deck had two ram-holes, the engine was in pieces scattered throughout the ship, and there was water in the boat. There was dirt, rubbish, food and the tell-tale signs of decades of neglect everywhere. “It was actually a complete wreck,” Robert recalls today, laughing. Nevertheless, something happened that many owners of old wooden boats will recognise: after a few minutes, they no longer saw the condition of the boat, but the possibilities. The lines. The proportions. The substance. When something like this happens between people, we call it falling in love. When it comes to boats, there’s probably a similar emotional state of euphoria.
A Koster 36 by Arvid Laurin
The object of desire was the ‘Nautical’, a Koster 36 built in 1967 for the Swedish industrialist Erik Abild. It was conceived and designed by the legendary designer and sailor Arvid Laurin, one of the leading figures in Scandinavian yacht building. The yacht was built by Karlsson in Strängnäs on Lake Mälaren. Measuring just over 11 metres in length, 3.15 metres in beam and with a draught of 1.75 metres, she embodies many of the characteristics that make Laurin yachts so sought-after to this day: a long, continuous keel, a slender waterline, a well-balanced rig and the elegant pointed stern shape. The Koster boat in its purest form.
The origins of these designs lie on the Koster Islands off the west coast of Sweden. There, over generations, fishermen and islanders had developed boats that were fast enough to make it home in any weather, whilst at the same time being robust, seaworthy and easy to handle. These requirements gave rise to long, slender clinker-built hulls with plenty of ballast and excellent course stability. These were not boats built to break records, but for life at sea. Designers such as Arvid Laurin drew on this tradition, adopting the fundamental principles of the Koster boats and adapting them to meet modern requirements for elegant cruising yachts. For Laurin, therefore, a Koster was less a matter of appearance than of attitude: A vessel should be well-balanced, robustly built, seaworthy and able to bring its crew home safely – in both strong and light winds. “We greatly value these qualities in these boats, which is why we’ve fallen in love with this design,” explains co-owner Britt.
The rules behind the Koster boat
Originally designed as a working boat, it was modified into a cruising yacht and went on to enjoy great popularity in Scandinavian waters. In 1930, the Swedish Kosterboat Association (SKBF) was founded to define the following standardised rules for the many designs and new builds: The Koster boat is a double-ended vessel; the stern is therefore pointed or rounded, with an externally mounted rudder. The stem must be straight or built at an angle of no more than 60 degrees. The keel is made of wood; the stem, planks, stringers and frames must be of substantial dimensions. The ballast keel must be made of iron and should extend over almost the entire length of the wooden keel. The hull must have a straight or moderately convex profile – under no circumstances concave – and the mast length must not exceed three times the length of the boom. Furthermore, categories were established based on minimum sail areas to define different classes. In addition, the SKBF developed its own special and one-design classes.
The association was open to the introduction of new construction materials. As early as 1964, fibreglass production was underway with the Laurin 32 in Malmö, and two years later, the renowned Swedish designer Lars-Olof Norlin won a design competition for the K25 class with the ‘Allegro 27’, a boat featuring a hull made from glass-fibre-reinforced plastic.
Although many Laurin-Kosters continue to follow the Koster rule, they differ from the original design, for example by having a narrower beam and a rounded transition zone between the side and the deck – known as the ‘Waldeck’ on this type of boat.
Why the Waldeck stiffens the fuselage
The idea behind it stems less from traditional yacht building than from engineering. Laurin had realised that a curved structure – similar to that of a bridge – creates enormous rigidity in a boat’s hull. The Waldeck makes the construction particularly stable whilst also providing greater headroom below deck. Whilst flat decks became the norm in modern mass-produced yacht building, the Waldeck remained a speciality for enthusiasts, as the construction method is labour-intensive: each deck beam has its own curvature, and every joint requires individual adjustments.
Geographically, the construction of these boats shifted from the west coast of Sweden to the east coast and Lake Mälaren. Consequently, a large number of Laurin Koster designs were built at Rosättra Varvet (which today builds the Linjett cruising yachts). Great robustness and durability were always the aim, and to this day around 95 wooden Kosters are still actively sailed.
What is a Waldeck?
In this type of boat, the rounded transition zone between the hull side and the deck is known as the ‘Waldeck’. The curved structure increases the rigidity of the hull and creates additional headroom below deck. Its construction is labour-intensive, as the deck beams and joints must be individually tailored.
The Laurin-Koster is coming to Flensburg
For Britt and Robert, the spur-of-the-moment idea of buying the boat in Gothenburg and getting it up to scratch came to nothing, at least for the time being. The seller was asking for considerably more money than the pair were prepared to pay. So they sailed on, left their telephone number behind – and almost forgot about the boat again. But a few days later, the phone rang: the owner wanted to discuss the price after all. In autumn 2013, the boat was finally transported by special haulage from Gothenburg to Flensburg.
“After taking possession, we cleared a huge number of bin bags off the boat – it was an unbelievable mess,” says Britt. Only then did the stock-taking begin, and with it a project that turned out to be much bigger than originally planned: the cockpit tub was removed, the engine was taken out, as was the diesel tank. Then came the electrics, the pipework, the fittings, bulkheads, shelves and cupboards. “In the end, only the frames and deck beams were left standing,” says Robert.
As he is a boatbuilder himself, he began the structural work with the help of his friend and colleague Stéphane Lainez. The damage to the foredeck, as well as to the fore and aft stems, was repaired; two layers of plywood decking were laid and, like the foredeck, laminated with epoxy and fibreglass and fitted with above-water planking. But it was far more work than anticipated, and time was running out. What was originally intended to be a manageable refurbishment turned into a complete restoration. “We’d reached the point where we simply had to see it through.” That cost time, nerves – and, above all, money. Without generous support from family, “Solberta” would have remained out of the water.
A new hull, new gunwales and a new teak deck
To speed up the refit, the hull was sent to Robbe & Berking Classics, where the underwater section was stripped and subsequently laminated. Some frames were reinforced or completely replaced; custom-made stainless steel frames were used in place of the original oak floor frames. The shipyard also used a vacuum-assisted process to fabricate the new teak deck with footrails.
For the interior refit, the ‘Koster’ was taken to the Janssen & Renkhoff shipyard in Kappeln on the Schlei. The original layout was largely retained, and the bulkheads are still in the same positions they were in back in 1967. Yet much has been redesigned, particularly in the fore and aft sections. The original berths at the bow are narrow and positioned high up – typical of the era, but not very comfortable. Robert and Britt, an architect herself, spent countless evenings devising new solutions. The result: the berths were moved further forward, small storage compartments were incorporated, and a chain locker was fitted in front of the forepeak. The formerly dark bulkheads were painted white – although the boat has no side windows, the interior now appears surprisingly bright. Larger glazed deck hatches also contribute to this, complemented by additional deck prisms in the forepeak. Anyone below deck today does not find themselves in a maritime museum, but rather a surprisingly modern and homely setting with a stylish ambience.
During the restoration phase, Peter Abild, the son of the original owner, popped in to visit in Flensburg. He knew the ‘Nautical’ from his youth, had later sailed the ship himself, and was deeply impressed by the results of the restoration. He was delighted that his father’s legacy had been so faithfully brought into the present day.
A new mast with a history linked to Laurin Koster
As for the rig, the story didn’t end with the purchase of the boat either. The original wooden mast was beyond repair. By chance, Robert discovered a mast that had originally been built for the famous Laurin-Koster ‘Stailka III’. ‘It was almost perfect. We only had to extend the profile downwards by 28 centimetres, as the ‘Solberta’ has more headroom below deck.” In autumn 2023, when the yacht was launched again after a long spell in the shipyard and the mast was in place, the sail measurements were taken for the new set of sails. After just two weeks back in the water, the yacht was brought ashore again and the entire electrical system was replaced. “We’d ripped out all the lights, wiring and distribution boards right at the start. That has now been completely replaced by a modern system.”
A reward after ten years of restoration
The reward for a decade’s work came in the summer of 2024: “We had a fantastic sailing trip, and to this day we are rewarded with every mile by a trusty cruising yacht that simply sets off even when there’s hardly any wind.” Whilst modern cruising yachts often still wait for the next gust of wind, the Spitzgatter sets off at the slightest breath of air and sails away. Perhaps it’s down to the large genoa or the slender lines – probably both. The rudder pressure can be quite a challenge for the helmsman on some courses, but when sailing close to the wind, the long-keeled yacht runs dead straight as if on rails. And there are many miles to be logged: naturally to Sweden’s archipelago, to Denmark and perhaps to Norway. “The Baltic Sea is diverse and beautiful, and this is exactly where a Koster belongs,” says Robert.
‘Solberta’ is now moored in the former industrial harbour in Flensburg, just a few minutes’ walk from her owners’ home. Whenever possible, Robert is on board – after ten years of restoration, the boat is a well-earned home on the water for him. And when you sit in the saloon, surrounded by mahogany, white bulkheads and the gentle curves of a classic pointed-stern yacht, you understand why the two owners never gave up on this ambitious project.
Technical Specifications for “Solberta”
- Shipyard: Karlssons/Strängnäs, 1967
- Fuselage length: 11.20 m
- Waterline length: 9.80 m
- Width: 3.15 m
- Draught: 1.75 m
- Weight: 8.5 tonnes
- Wing area: 77.0 m²
Book recommendations
Maintenance and repair of classic yachts covers the work involved in a comprehensive restoration of classic boats: identifying damage, professionally repairing components and preserving the boat’s structure for the long term. The step-by-step instructions help owners to better understand the work required and prepare for it effectively.
Wooden boats focuses on the renovation and maintenance of wooden boats. The book explains construction, materials and typical repairs, ranging from planking through to seam joints and plugging, right through to the deck and mast. Readers will learn which types of damage they can assess themselves and how to approach traditional boatbuilding tasks in a systematic way.
What fascinates you most about a restored classic yacht: its history, its craftsmanship, or the experience of sailing a boat from a bygone era?
Nico Krauss
Freier Fotograf