Trans RINA, Vol 153, Part C1, Intl J Marine Design, Jul - Dec 2011


disabilities have an expectation that they will be able to enter, exit and move around an unfamiliar venue easily, whereas a wheelchair user may not have the same assumptions. The conditions that provide the starting point


for 4. people with disabilities re-imagining the


material landscape may or may not be radically different from their counterparts without disabilities.


DESIGN METHODOLOGY


Backstrom and Rains [13] have integrated the principles of Universal Design in what they refer to as Waypoint- Backstrom


changeable nature of water-borne environments brings into even higher relief issues of entry and egress (embarkation and debarkation), intermodal transport, personal


safety, and human impact on the


environment” They use Seaworthiness”.


the term “Human-Centred


“Seaworthiness is a measure of the fit between the environment a watercraft must navigate and the ability of humans to use that craft for their own purposes. Universal Design captures this essential dynamic at the core of seaworthiness.” [13]


They identified the following key considerations in the design process:


 


      


Wide companion-ways and special ramps


Chair lifts, elevators or other special boarding systems


Disability-friendly staterooms Wide spaces around seats Grab bars


Armless chairs


Lowered sinks & vanities Raised toilet seats


Larger, roll-in showers with stools


The design methodology discussed within this paper used involved


benchmarking interior of contemporary design trends, and vessels general


critically review General Arrangements (GA) layouts, current design innovations and to identify area specific activities. This also gave an insight into current motor yacht


specifications. An Industrial


Design approach to inclusive design


simulation was carried out by the students visiting the London Boat Show and evaluating a range of vessels in terms of reach and vision, with due consideration given for ingress and egress to all the areas of the vessel for people with a range of disability. The use of a wheel chair and distortion causing glasses to experience vision impairment, gave the student an insight into users with disabilities who have concerns with mobility in restricted spaces and interaction with marine environments.


to technical Principles that acknowledge “the highly natural


The design team then developed the vessel in CAD, and a bespoke wheelchair design as a parallel activity. DHM (Digital Human Modelling) was carried out as an integral part of the CAD design process. A range of digital ergonomes was used in the evaluation


5. DESIGN OUTPUT


The design workflow involves the critical balance between interior volume to facilitate packing of assistive technology and the styling of the exterior form. The resolve delivering a sensitive balance between the two through an interrogation of user needs for the range of users, was developed through storyboarding of specific user activities. The development of spatial awareness is critical to achieve an optimised solution. This was achieved through active role-play as part


of the


benchmarking process, which highlighted key areas in need of ergonomic resolve. The use of a 1/10th scale laser cut model of the hull enabled foam card interiors to be constructed to resolve dimensional issues through the use of a range of scale ergonomes.


5.1 EXTERIOR FORM DEVELOPMENT


While motor yachts have a capability for considerable speed the majority


of older users would not be


comfortable under such conditions of motion, given health and


potential stability issues with assistive


technology such as wheel chairs. A key styling cue was to give the vessel a dynamic stance so that it alludes to speed and capability even when stationary. The early conceptual exterior form development is shown in Figure 1. Where there is a focus on implementing a large area of glass to immerse the user in the marine environment as the user will not have access to the fore deck due to the size of the vessel. The structure looks sleek and dynamic with the side rails sculpted to follow the chine indicating the direction of motion. The use of a thin structure around the windows gives a sense of visual balance to the vessel. The aft positioning of the cabin structural support relates well to both the transom and the window.


The students then used an emotional design framework to define a range of user personas, mood boards and inspiration boards. This enabled them to individually develop exterior forms and GA proposal s for their personas. The group then combined and refined their GA and exterior form ideas into a final design proposal, which was then further developed as a group project.


To enhance the spatial awareness in the design process, a 1/10th scale laser cut model of the hull was produced to allow the students to construct model interiors from foam core using scale ergonomes including a wheelchair user, they were able to interrogate the effectiveness of their GA layout and resolve design detail


to a high degree.


This supported their design discourse as a team and enable agreement to be reached for the final design.


©2011: The Royal Institution of Naval Architects


C-17


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