Vismara MAS 60

A stunning collaboration between Vismara and world-famous Italian architect Renzo Piano, continuously upgraded and professionally maintained, KIRRIBILLI I is an instant classic that also constitutes a piece modern yachting art.

FURTHER BROKER’S COMMENTS:



KIRRIBILLI I was commissioned as a collaboration between renowned Italian naval architect Alessandro Vismara and the legendary Italian architect Renzo Piano who boasts such works as the Shard in London, the Centre Georges Pompidou in Paris and the Kansai International Airport in Osaka.

Originally named as Project J60, KIRRBILLI I was launched in 2001 after construction by MAS Srl and instantly became one of the most beautiful yachts of her time. Her objective was to create a fast cruiser with all the characteristics of the most modern maxi yachts of the time, and the sober qualities and essential lines of the famous J Class, which competed in the America’s Cup in the 1930s. This, she fulfilled in spades.

Her name ‘KIRRIBILLI’ in the Aboriginal language means “fishing place” and refers to the Sydney suburb where Piano built a sail-shaped tower.

Her interior layout has 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.

Following launch, KIRRIBILLI I has benefitted from continual refits and upgrades at the Vismara Marine shipyard in Viareggio and more recently, 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

KIRRIBILLI I is offered for sale Norwegian flagged and taxes paid.

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.