Trans RINA, Vol 153, Part C1, Intl J Marine Design, Jul - Dec 2011
and the design direction for the remainder of the project were identified. The remainder of the project was a group activity.
The students then focused on developing interior concepts by a detailed analysis of contemporary interiors in high-end Chinese hotels. This was followed by sketching and brainstorming, resulting in the refinement of the design specification. The brainstorming activity was based around two critical questions, ‘Who is your customer?’ and, ‘What is luxury?’. In terms of the interior and exterior design sketching, marker rendering and Photoshop were used to communicate concept developments including colour and trim detail. Using feedback the concept developments were progressed into a final design using CAD.
The students worked together in the creative forum that is European studio design practice, with a studio manager (lecturer) supporting a weekly design review to discuss and technically resolve their creative proposals [7]. This was in addition to the weekly design review from the Starkel design studio using the VDS (Virtual Design Studio) where students presented their group work for design
review at weekly videoconferences as a
PowerPoint presentation using SKYPE. The work was also posted to FLICKR for written feedback.
It was emphasised to the students that a successful interior design should provide a positive experience for users; and that they should consider the function of each room from a User-Centred Design (UCD) perspective in the context of the flow of people through the interior. A key element of this user experience being the minimised interaction between the guest and crew.
Wk 1
2 3 4
5 6 7 8
9
Here the key words of: dynamic; fluidity; power, are related to visual representations. The transition between the images in the composition
gives a sense of
connectivity enhancing their interrelationship. These terms relate to the sense of presence of the exterior of the vessel and its' motion upon the water. The dynamic motion of smoke gives way to the fluidity of a waterfall, which in turn gives way to an imposing spiked surface exposed to lightening in an ominous sky (conveying a sense of power in the presence of nature).
Activity
Each student will individually develop user profiles template for three personas, as well as emotional mood boards and inspiration boards.
Each student will individually propose an exterior form and an associated interior design theme informed by research and a modified GA layout explaining the flow of guest and crew based on the cultural activities that have informed the layout.
Interim assessment – Each student will present their research, exterior form design, GA and perspective sketches of 3 key areas including detailed furnishings. Photoshop may be used to evaluate colour schemes but original sketches must be presented. Persona selection and design direction will be given by the Studio Starkel design team.
The students will work as a group to produce refined superstructure designs and GA proposals (2 each) for the same persona, with design review from the Studio Starkel design team. This will identify a GA for the remainder of the project, which may be modified in parallel to interior design development.
The students will work as a group to develop concepts for each area of the GA, with design review from the Studio Starkel design team. The GA may be further refined as part of this process.
The students will work as a group to develop concepts for each area of the GA, with design review from the Studio Starkel design team. The GA may be further refined as part of this process.
The students will work as a group to refine design concepts, colour schemes and material selection for each area of the GA, with design review from Studio Starkel design team. The students will work as a group to develop a CAD model of the exterior and interior. The students will work as a group to develop a CAD model of the exterior and interior.
10 The students will work as a group to develop a CAD model of the exterior and interior. 11 Assessment – The students will present their final design to staff and the Studio Starkel design team using Skype or Wimba
Table 1: Emotional design framework activities
3. DESIGN OUTPUT 3.1. COMPOSITE MOOD BOARD Contemporary
industrial design
practices
for mood
boards involve, collecting a series of images. These are a collection of abstract images that enable the designer to communicate emotions, feelings and aspirations. Mood boards are a collection of visual images (e.g. photographs, material samples) gathered together to represent an emotional
response to a design brief [8, 9]. This
technique enables designers to communicate and express themselves beyond linguistic restrictions. Designers may use this tool to communicate intangible and abstract emotions such as happiness, sadness and calm. Equally, this
tool has been employed to enable users to
communicate their emotional responses to products, task and their experience through abstract images.
A key aspect of the design approach presented was the combination of a series of images and words into a composite
image to convey a depth of emotional
response to the brief at the interim evaluation as shown in Figure.1.
©2011: The Royal Institution of Naval Architects
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