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Originally named as Project J60 from Alessandro Vismara and the Renzo Piano Building Workshop, the Genoa and Paris based Renzo Piano design company, KIRRIBILLI I has benefitted from continual refits and upgrades at the Vismara Marine shipyard in Viareggio.
Its name, in the Aboriginal language means “fishing place” and refers to the Sydney suburb where Piano built a sail-shaped tower.
Her interior layout have been conceived with a clear open space from the bow to the aft main full beam cabin, allowing guests to feel the structures as being inside a whale with a direct connection to the sea outside thanks to the hull windows.
More recently and as part of her numerous refits, her original wing carbon fibre mast has been replaced with a more conventional three spreaders deck-stepped carbon fibre mast.
KIRRIBILLI I boasts many specification highlights including:-
• Flush deck profile
• Teak laid deck
• Three cabins plus crew layout
• Carbon fibre mast and boom
• Electric jib furler
• Integrated anchor bowsprit
• Eberspacher heater
• Yanmar 125hp engine – 2012
• Bowthruster with foot buttons
• Electro operated folding bathing platform
DESIGNER’S COMMENTS:
The main characteristic of the boat was that it combined advanced construction technology, researched hydrodynamics and performance with sober elegance. The design is never for its own sake, as often happens with many modern yachts, but rather it is a means to create the ideal surroundings for the use of composite materials. The technical and architectural factors are the result of structures integrated into the interior or on the deck. The structures and reinforcement plates on the deck were left exposed, which enhances the adequate combination of technology of the materials and the way they have been used structurally and aesthetically. The monocoque structure, with hull and deck in high-thickness sandwich, also made it possible to eliminate almost all of the secondary reinforcement structures, leaving smooth, seamless surfaces inside the boat.
In this way, the continuity is constant between all of the surfaces of the hull, deck and bulkheads, which were joined by a wide radius to create a seamless monolithic area, where the structure is architecture. The division of space into cabins exists, but compartmentalisation was linear and symmetrical, so when viewed from stern to bow, there is the perception of the outer forms and the structural order. On board the feeling was that of experiencing shapes and perceiving the structures: hull, deck and bulkheads were painted in a pale mother-of-pearl shade, featuring simple forms and attention to detail, becoming part of the boat, almost as if they are outside elements, almost sculptures in wood that “inhabit” the partition bulkheads. This made it possible to build an extremely light craft, with the maximum weight and minimum wetted surface of its size and type of equipment.
RENZO PIANO’S COMMENTS:
In the sailboats of the past there was the elegant element constituted by the flush-deck (the completely clear deck) and the small cockpits. I’ve never liked wardrobe deckhouses. The problem is to have a boat large enough to stand up in, without needing to create a superstructure on the deck. The most important aesthetic reference remains, obviously, that of the extraordinarily elegant J Class.
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