An INFYNITO Challenge

Do you still use them?

Less and less, unfortunately. But on this drafting table, he points to one right behind him, I drew some of my best designs.

Really?

A project can only come from an idea, an intuition that we often try to fix on a sheet of paper by drawing some marks with a pencil.

Is this not possible with the computer?

Certainly the computer helps, speeds up this process, but it also pampers it. Computers now give the ability to render these projects to the point of providing the perception of a real environment with the three-dimensionality of some views. From the presentation of a sketch, a draft that graphically represents an idea, we have moved directly to rendering, which is often examined as if it were unmodifiable. But this new way of evaluating a project penalizes the creative process.

Do you keep up with the sketches or have you also adapted to this new mode?

We have adapted, because there are those who understand the possibly winning idea that is in a sketch but there are those who therefore see nothing. Today you present the design to 20 people so you have to come with something clearly comprehensible to everyone.

The fact that at these meetings between “shipyard professionals” there is someone who doesn't understand these things seems a little dangerous to me.

There are different skills, and it is only right that they are represented. Today's product has become much more complex compared to a boat from just ten years ago. Boats today are more sophisticated. The same goes for the end customer, who is a global traveler—someone accustomed to traveling, exploring, and experiencing very high hospitality standards. This customer is increasingly knowledgeable and used to seeing beauty, which is why the product has become more complex than it used to be.

It was a breakthrough boat, in the Ferretti tradition.

Perhaps it was a bit too disruptive and ended up intimidating the client. But we took a few steps back to make it feel a bit more "Ferretti" because the concern was that longtime customers might not recognize it. In reality, that wasn’t the case: the first client who saw it fell in love with it, and I remember that at the launch, he told me, "In my opinion, this boat is ten years ahead of its time."

Is there a kind of fear of innovation?

Innovation is necessary, but without taking steps that are too far ahead. The hybrid, contaminated product is always the most difficult one to make because, while you know where you want to go with your ideas, you also have to make them interact with what was done in the past. The result is a hybrid that is never exactly what you envisioned but rather the outcome of a compromise. Boat design, however, can never be an end in itself, just an aesthetic pursuit or a purely visual factor. For me, design is a cognitive process, a tool that should enhance our humanity and allow us to live better. This is especially true when it comes to a boat, where architecture and design must seamlessly integrate.

Hence the importance of the functional aspect?

It is essential that the aesthetics of the boat enhance its interiors, particularly with increasingly large glass openings. However, the boat cannot be designed solely around these large windows, it must be a design process that harmonizes aesthetic and functional aspects..

What boats are being designed today?

The market has changed: it now demands larger spaces and bigger windows. In the past, a boat’s layout featured clearly defined areas based on function. Today, the focus is on versatility and the adaptability of spaces. Boats are now designed to be flexible. The very nature of a boat, being a moving object, affects how spaces function. Let me give you an example: depending on whether the boat is moored, at anchor, or docked in a marina, privacy needs change, requiring different spatial solutions.

In the name of on-board comfort, aft spaces have also been increased, with beach clubs resembling helipads.

I believe that, above all, a boat must be safe. This is a fundamental principle that cannot be compromised. On the Navetta 38, we also designed an aft deck with side openings, but we chose not to overdo it. A boat’s seaworthiness and safety can never be called into question.

Attention to comfort cannot compromise safety on board. But net of this must-have, don't you think boats increasingly resemble seaside villas with private beaches?

The market has changed, and yacht owners now have different needs in terms of comfort and livability on board. To meet these demands, shipyards and designers have often built boats that increasingly resemble second homes. Personally, when I see certain furnishing solutions or some tables on board, I shudder. Boats evolve, but a certain balance must always be maintained. This is especially true on maxi yachts over 40 meters, where it's easier to go overboard. The larger dimensions and available space allow for greater design freedom, and often, renowned architects are brought in to work on them.

Why?

Every client today is unique, accustomed to living in their home in an increasingly personal way. That’s why yachts must be designed to be as flexible as possible, so that the owner can make the space feel like their own and personalize it. At the same time, because a yacht is a moving object, it must also adapt to different settings. At anchor, open spaces that connect seamlessly with the sea are ideal. In a marina, however, greater privacy is needed, requiring more secluded areas. This idea was one of the driving forces behind the design of INFYNITO, a new yacht range defined by its forward terrace. INFYNITO is a project that embraces these principles. There are many innovations on board this yacht, but I believe the forward space we’ve created is the most significant. Traditionally, that area is not comfortable during navigation due to sun and wind exposure. We solved this by designing a protective structure with glass elements to shield from both. Additionally, we envisioned a bar, a jacuzzi, and a nearby kitchen. These features enhance onboard comfort, not just for guests, but also for the owner, who can choose to make this area an exclusive private retreat.

Is it special?

This idea was born more from a casual conversation with friends in strategic marketing than from a specific client request. Initially, we set out to design a smaller navetta, but then we changed direction, aiming to create a smarter yacht with innovative spaces. We wanted to bring something new to the table. The forward area of a yacht is typically underutilized for two reasons: during navigation, it is too exposed to wind and sun. These hybrid spaces often go unused, but by incorporating glass panels and a protective cover, we’ve managed to shield the area from the elements without compromising the view or the livability of this new space.

Function is livability but also safety on board.

A boat is an object designed to navigate the sea, and it must be safe. When there are too many things on board that you open and then struggle to close, safety is objectively compromised.

You mean the aft openings that widen the aft deck to beaches at the water's edge?

We’ve explored that path as well, for example, on the Navetta 38. However, compared to other boats, the Navetta 38 has a stern with high, protected steps. Our designs are always a bit hybrid. They open up to the sea, but we always keep in mind that we’re still talking about a boat. The nautical characteristics of the product must always take precedence, even though, in recent times, we’ve become accustomed to seeing yachts that no longer resemble traditional boats on the sea.

Does size matter?

When it comes to large yachts, everything is obviously easier. The living area on a 50, 60, or 70-meter boat is probably larger than the that of a house. It's no coincidence that renowned architects and famous designers are brought in to work on large yachts. On smaller boats, designing is much more complicated. There's a risk of distorting the product, and different skills come into play. On a 40-foot boat, you have to fit everything together, making it functional with transformable spaces: as much space as possible, as large as possible, while ensuring livability for everyone on board.

Sometimes innovation represents a necessary change, but it doesn’t always lead to improvements. There are some beautiful British yachts from the 1950s that are spectacular and, at the same time, still feel current.

There has been an evolution, and it’s been rapid. However, it hasn’t always gone in the right direction. It’s undeniable that a boat from 10 or 15 years ago is completely different from the boats we are accustomed to seeing today. Innovation has primarily focused on space, with the ability to open up boats, especially smaller ones, to the sea through large windows. The ratio between the hull and the superstructure remained fairly constant, and the importance of the hull was much more apparent. Today, the hull and the very concept of a boat have lost some of their significance.

We’ve reached the paradox where the glass itself designs the boat.

That’s why we are taking a small step back, incorporating films on the windows to obscure them and adjust the balance between light and dark along the hull. From the inside, the windows are enormous, but from the outside, they disappear. The hull must maintain its significance in the design of the product. I am the first to say that sometimes we exaggerate with openings. A boat must be livable, and that’s why we use these strategies to balance out those enormous windows that can detract from style and sportiness.

How did you choose to design boats?

Almost as a joke, by chance, I ended up at Officina Italiana with Mauro Micheli and Sergio Beretta. I started as an architect because back then there wasn't even a specific school for designers, so I chose to specialize in industrial design.

I liked it, and as soon as I graduated, I started designing urban furniture, bicycles, and a bit of everything. Then, I started working in fashion design in Milan, so still within the design field: objects, helmets, clothing. I worked with with a company that sold software to car designers, so I visited many design centers to present and do tailored demos for clients.

When I arrived at Mauro’s, I showed him some of my work. He liked it, and I began collaborating with him. It wasn’t a formal school, but I tried to understand how he worked. By staying close to him, I observed his approach and style. He shaped me a bit, and we remained on great terms.

At a certain point, did you decide to break away and follow your own path?

At Azimut, they were looking for a designer who could give an identity to the Atlantis product, which had initially been created by multiple hands, including Galeazzi and others. I was undecided at first, but in the end, I decided to go. Even though I had a strong affinity with Mauro, when there are two figures working on a new project, they each have different, complementary roles. If I hadn’t gone to Mauro and shown him my work, I probably wouldn’t be in the nautical industry today. I’d still be in design, I assume, but not in architecture, where there’s too much bureaucracy. In the nautical world, there are constraints, but you can still experiment and have the freedom to design.

Cor de Rover used to say: "I wanted to design airplanes, but I realized they were just tubes, and I couldn’t do much more than a tube."

Creative work thrives on many stimuli. The more stimuli you have, the more creative you become. Certainly, drawing inspiration from the world around you is part of the research process, as is the opportunity to work across various fields. Each boat is a new challenge, building on what you’ve done before. You try to create something new. The INFYNITO range has already given us great satisfaction, and now we’re focusing on larger boats. We’re also in an exclusive partnership with the Ferretti Group for boats up to 50 meters. Now, we want to dedicate ourselves to something a little bigger.

Is this your next goal?

More than a goal, it is a challenge.