Trans RINA, Vol 155, Part C1, Intl J Marine Design, Jan -Jun 2013 photographs, material samples) gathered together to
represent an emotional response to a design brief. 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. The combination of a series of images and words into a composite image to convey a depth response to the brief is shown below in Figure 1.
of emotional
Here, the current imposing architectural landscape of Shanghai is contrasted with the a view of an historical building in the city from the Art Deco period. These two images are connected by an image of dynamic motion representing the fluid and rapidly evolving nature of luxury in China, symbolised by a fashion model piloting a speedboat, with a superyacht and helicopter in the back ground. The text statements act to reinforce the imaging meaning.
2.2. EXTERIOR DESIGN
The exterior form development was directly connected to key cultural
influences. Exterior form proposals are
shown in Figure 2-3. The final design was inspired by the motion of the crane in flight as shown in Figure 4. The interrelation between the surfaces using a common focal point, gives the sleek form a dynamic stance. It has a sense of graceful motion when stationary upon the water. This level of surface development is an application of automotive styling. The CAD image in Figures 5-8 shows the evolution of the final design from the initial concept form. It has a more subtle, elegant and less dynamic aesthetic, with a motif feature on each deck inspired by the pattern on the window frames of ancient traditional Chinese wooden doors. The minimal amount of expose deck space is a key cultural consideration in the design process, as Chinese clients have an aversion to sunlight. This has resulted in an awning being used to provide shade in the fore deck area.
2.3. GENERAL ARRANGEMENT LAYOUT
The interior design of the vessel was informed by the distinctive operational modes of the vessel, namely high speed operation and stationary. In high speed operation mode the owner would like to experience and be immersed in the experience of speed with key VIP guests and family members. This requires a secure forward seating position and a view of the environment as the boat moves through it. This is achieved through the owners seating area on the bridge of the vessel. The high speed motion and form of the vessel gives it an imposing presence as it moves along the coastline and a dramatic entrance as it
approaches harbours, conspicuous consumption being a key facet of Chinese luxury.
In stationary mode the vessel must support traditional Chinese leisure and business cultural activities such as meetings, banquets, karaoke, and mah-jong. A key consideration in this is that banquets are a significant forum for business and tend to be quite large requiring a significant amount of staff and a large galley. The GA informed by these considerations is shown in Figure.9. The key features of the GA are the mah-jong and banquet areas, with the imposing atrium which connects them to the lower deck of the vessel. The beach club areas on both sides of the vessel enable a large number of guests to arrive at the same time by tender and flow through the gallery space into the atrium. The six guest bedrooms also connect to the gallery space. The layout of the gallery area is divided into several distinctive spaces, where small groups can congregate independently of bigger events for distinctive activities, such as admiring art work or piano recitals. There is an extensive spa area, which is accessible from the beach clubs.
The use of the swimming pool feature at the transom, atrium water feature and wooden panelling, and the round tables in the banquet area are an integral part of the feng shui design philosophy, as is the use of a circular form for the atrium. The atrium plan view in Figure.10 shows how guests flow from the right into the gallery areas which connect at three points to the atrium. The doors of the guest pod and private pod provide controlled space which allows for differentiation of the status of guest to be acknowledged upon their arrival. The view from the atrium balcony is shown in Figure 11, and the view from the bottom of the stairs in Figure 12. The traditional style roof tiles can be seen at the top of the wooden pillars. The water feature is located at the centre of a winding staircase which has a traditional pattern of door windows. The hand rail flows into the floor.
2.4 INTERIOR DESIGN
The emotional mood board for the beach club areas is shown in Figure 13. It shows an image of a traditional Chinese courtyard, Buddhist prayer wheels and the pattern on the window frames of ancient traditional Chinese wooden doors. It also includes a diver's view perspective of being immersed in the sea, as well as an image of a contemporary wall structure derived from the pattern on the window frames of ancient traditional Chinese wooden doors. The GA of the beach club is shown in Figure 14, with the concept of the variable geometry yacht beach club feature shown in Figure 15. The extensive communal port beach club area is shown in Figure 16-17 with an immersive experience of the marine environment. It has a high degree of shade due to the Chinese cultural aversion to sunlight. The table areas in the sun are primarily for night use. In contrast to this the starboard beach club area, shown in Figure 18-19 has intimate small seating areas with tables as distinctive focal points, as well as a service desk reception area for the spa. The GA of the spa is shown in Figure 20 with a render of the spa waiting area in Figure 21. Part of the
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©2013: The Royal Institution of Naval Architects
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