Trans RINA, Vol 156, Part C1, Intl J Marine Design, Jan -Dec2014
Drawing from their experiences in carrying out and arranging
field studies for design customer’s processes they
introduce the model of design-driven field research (Figure 2). The model emphasise three aspects of field studies in design: data mapping; experiencing life at sea; on-site design reflection.
1. Data mapping involves collecting the specific data designers need in order to develop relevant designs. This can include:
recognising the user group;
documenting functions and tasks, identifying the equipment used to conduct tasks and mapping out the physical working environment.
2. Experiencing life at sea suggests an ethnographic- inspired approach. The purpose of ethnography is to get a deep, detailed understanding of how a group of people experience and make sense of what they do. For the UBC project the approach
involved
becoming familiar with life on board the vessel, gaining insights into the offshore culture and getting to know ' the men behind the user'. Also important when experiencing life at sea is to understand first- hand the environmental, temporal ad bodily aspects of staying on board.
3. Design reflection involves reflecting on possible design opportunities and on the potential to design ideas while in the field. It also concerns being conscious of using the field study to create a basis for generating ideas and getting the Eureka moments later in the design process. It is important to be curious, not setting strict boundaries for the scope of the field study and seeing everything on board as interesting. In addition they documentation of board.
emphasise conceptual for designer to thinking while on
Design-driven field research explicitly points towards the need
experience the on-board
environment for themselves when designing for complex marine domains such as ships bridges. Also it encourages the designer to engage in design reflection in the field, in order to accelerate the process of interpreting
use
situations and more quickly arrive at appropriate designs. 1.1(a) Aesthetics and Emotional Design
In considering the relationship of commercial vessel exterior form language aesthetics and emotional design, it is useful to first consider the automotive industry where this relationship is firmly established. Perception of a new car by a potential customer usually happens from the outside to the inside through different levels of detail. The first look catches the vehicle’s body style and proportions. As the customer gets closer to the car, surfaces come into focus. Eventually, details such as door handles, and exterior trim parts are experienced. The first characteristic of a car that catches a potential
attention, engaging their emotional
perception is the aesthetic appearance of its exterior styling [6].
Automotive form language has been
developed in the superyacht industry for some time and in recent years it has been implemented in the commercial vessel industry. Where brand specific styling features differentiate a vessel from its competitors, as is the case with the car industry.
Both from the customer’s and society’s viewpoint, styling makes a statement about the vehicle’s owner. For most customers, the message sent out by their vehicle’s styling is as important as the performance of the vehicle, even if this statement is understatement. The following are cars with distinctive exterior styling that send very strong
Lamborghini
but different statements about the owner: Reventon,
provocation and radicality;
MINI Cooper, emotion and fun; Porsche 911 Turbo, power and sportiness. Comparatively Ulstein, Damen, Royal IHC, and Vard have commercial vessels with distinctive but different messages. Exterior styling is responsible for that visceral response of 'love at first sight'. The fact that styling is as important for a vehicle’s marketing success as its technical performance has been known since the 1930s. The evolution of superyacht design language in the last decade indicates that
the
industry has arrived at the same realisation. The recent exterior design developments by leading companies in the commercial vessel sector show that they are developing an appreciation of this realisation [6].
Considering the difference in perspective between the designer and crew of a vessel. There is often a difference between these two perspectives, but both similarities and differences form a significant source of the affective reactions that people have to products systems) and their interactions
with preferences, and attitudes. The challenged by constraints such as In terms of visceral emotional design. From
(vessels and them. These
reactions have a broad spectrum, including relatively short-term emotions and longer term reactions such as moods,
designer is functionality,
appearance, cost, characteristics of existing market segments and competitors, and brand-identity issues [7].
response and design
meaning, functionality and appearance are the most relevant for understanding the relation between emotion and
the perspective of the user,
functionality and appearance are important, but for different
aspects of the design space are the principal sources of affective
reasons and in different ways. These two reactions. There
are three types of users’
emotional reactions to products reactions that might or might not have been anticipated or intended by the designer. These three kinds relate to what Norman [8] refers to as Visceral (perceptually based), Behavioural (expectation based), and Reflective (intellectually based) aspects of design, Figure 3 shows the between the two perspectives [7].
relationship
C-4
©2014: The Royal Institution of Naval Architects
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156 |
Page 157 |
Page 158 |
Page 159 |
Page 160 |
Page 161 |
Page 162 |
Page 163 |
Page 164 |
Page 165 |
Page 166 |
Page 167 |
Page 168 |
Page 169 |
Page 170 |
Page 171 |
Page 172 |
Page 173 |
Page 174 |
Page 175 |
Page 176 |
Page 177 |
Page 178 |
Page 179 |
Page 180 |
Page 181 |
Page 182 |
Page 183 |
Page 184 |
Page 185 |
Page 186 |
Page 187 |
Page 188