The paper [11] “Motion Prediction of Ships and Yachts by Smoothed Particle Hydrodynamics” aims to automate modelling of ship motion, by using a technique similar to programmes used for the virtual analysis of road vehicle crashworthiness, this implies that when developed, and proven, the program may (for example) be very useful for motion analysis, and provide a guide for more effective prevention of
seasickness, through interior
layout design. The elements of ergonomic interior design may be more amenable to quantification than the more qualitative elements of a design.
The advances quantitative
being made in the automation of design processes are interesting and
revolutionary as while it is unlikely that naval architects are about to develop technologies that will make them redundant, one cannot help but speculate about how the role of the
applied. Likewise these changes have exploring
implications this has in relation to creativity and how this is
new and original technical
naval architect will change, and the substantial
implications for the marine designer and the manner in which their skills and creativity will be applied. In fact the author believes that the naval architect will move further into
solutions that will demand more, not less creativity.
The potential for analogous developments in automating aspects of marine design is substantial and will lead to a similar revolution, and likewise change the role and practice of the marine designer.
Many will argue that it is not possible to do this in any depth where one is dealing with the emotional, symbolic, and psychological aspects of marine designs. However the author believes that this will change as there are existing methods that allow responses to subjective - qualitative attributes (for example colour) to be given relative values within a multi- dimensional “Subjective Space”, allowing comparative analysis. These could be automated as can most measurable parameters.
performance
However the author does not believe that this would, in anyway, reduce the role ambiguity plays in encouraging creativity. Far from it, as one can see these demands becoming greater as the designer will be able to explore economically, a much wider range of options and possibilities and then model and test them in much more complex virtual design spaces than is possible today.
8. CONCLUSIONS
Ambiguity is significant as it allows the imagination to work exploring options, avoiding restrictive responses that can prevent the development of the mental images or design pre-cursors (atavars) that allow design options to surface, as demonstrated by the conceptual sketches of the marine designer.
The author feels that differences in the role ambiguity plays in both marine design and naval architecture is related to context and the importance of this attribute lies in the role it plays in encouraging creativity be this quantitative or qualitative in nature.
As Miller [12] puts it:-
“It is possible, I suppose, to look at the natural laws – the symmetries, proportions, and regularities of the universe – with a cold and analytical eye. But even the dullest of us is moved to wonder by contemplation of the universal order”.
ACKNOWLEDGEMENTS
We wish to acknowledge Massey University for their vision, courage and support, in setting up the new Marine Transport Design Degree, and the Auckland School of Design, Albany, Auckland New Zealand.
The teaching ability, encouragement, imagination, technical competence, and aesthetic sense, of Grant Firth, yacht designer and naval architect (Southampton Solent University, Yacht Design) is acknowledged.
Jae Hoon Lee 4th year student, Massey University, for allowing the use of his major project sketches.
REFERENCES 1) Arnhiem
The topological nature of the conceptual sketch is important and powerful.
Coefficients demonstrate the nature of ambiguity and it is this very lack of precision and definition that allows the imagination of the technical
designer to extend and
explore the design space. A dimensionless coefficient relates numerically identical shapes at different scales, but does not in itself define what an actual and specific shape should be, many iterations have to be worked through in order to determine this either automatically or manually.
Rudolph, 1993, Sketching and the
Psychology of Design, Vol 9, number 2, (Spring 1993), Design Issues.
2) Deforge Yves, Avatars of Design: Design before Design, Vol 6, number 2, (Spring 1990), Design Issues.
3) Buchanan Richard, Wicked Problems in Design Thinking, Vol 8, number 2, (Spring 1992), Design Issues.
4) Gelertner David, 1998, The Aesthetics of Computing, Wiedenfield and Nicholson.
© 2008: Royal Institution of Naval Architects
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