Trans RINA, Vol 156, Part C1, Intl J Marine Design, Jan -Dec2014 design always develops in tandem with innovative technology, and can never be an end in itself.
Good design makes a product useful: A product is bought to be used. It has to satisfy certain criteria, not only functional, but also psychological and aesthetic. Good design emphasises the usefulness of a product whilst disregarding anything that could possibly detract from it.
Good design is aesthetic: The aesthetic quality of a product is integral to its usefulness because products we use every day affect our person and our well-being. But only well-executed objects can be beautiful.
Good design makes a product understandable: It clarifies the product’s structure. Better still, it can make the product talk. At best, it is self-explanatory.
Good design is unobtrusive: Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression
Good design is honest: It does not make a product more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.
Good design is long-lasting: It avoids being fashionable and therefore never appears
antiquated. Unlike
fashionable design, it lasts many years – even in today’s throwaway society.
Good design is thorough down to the last detail: Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the user.
Good design is environmentally-friendly: Design
makes an important contribution to the preservation of the environment. It conserves resources and minimises physical and visual pollution throughout the lifecycle of the product.
Good design is as little design as possible: Less, but better – because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity.
These principles for good design propose a minimalist approach to
aesthetics, currently seen in more
progressive commercial vessels, and support a strong user centred design focus. The engagement in emotional design in the context of vessel design is not the excess of luxury in superyacht design but the 'super normal' beauty of everyday things. Fukasawa and Morrison [83] defined 'super normal', as a commitment to reinventing the principles of early modernism: technological innovation
and fitness for purpose. A celebration of normality in design. Morrison stated in an interview, 'The objects that really make a difference to our lives are often the least noticeable ones, that don't
try to grab our attention.
They're the things that add something to the atmosphere of our homes and that we'd miss the most if they disappeared.
That's why they're 'super normal'.'
Commercial vessel design should be 'super normal'. 6.
THE EBDIG BOAT DESIGN MANIFESTO
The authors have reflected upon their collective expertise and the needs of the future European marine industry. To be competitive we must innovate, as we cannot compete on a cost only basis in international markets. The key tenets of the marine design manifesto, discussed in the previous sections, are as follows:
which are
1) Design user experiences not just marine structures 2) Design-Driven Innovation:
meaning for
Define new design vessels and develop new market
sectors through dialogue with cultural and technology interpreters. Using Open Innovation and other tools!
3) The model of design-driven field studies is a critical aspect of marine design as 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.
4) Preliminary design process optimisation is critical, as 90% of the major design decisions have been made when less than 10% of the design effort has been extended.
5) In order to facilitate transfer of technology into the Maritime sector we propose the use of ‘Open innovation’. Supported by effective 'mirroring', the ability of designers to frame any problem ‘user-centred and outside-in’ and to express their interpretation well through compelling representations. The Five ‘M’s framework should be used to
consider the likely success of technology transfer from another domain.
6) Emotional and Empathic Design: build upon the cultural relationship that the user has with objects. Broaden your empathic horizon through dialogue with user groups to develop better personas to inform your user centred design process.
7) Sustainability should have an holistic approach within the
marine design process following facets: with the
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©2014: The Royal Institution of Naval Architects
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