Trans RINA, Vol 156, Part C1, Intl J Marine Design, Jan - Dec 2014 3.
Optics. Windows not only add another level of complexity to the pattern, but also provide a change of material – a transparent and reflective element. These perforations visually lighten the structure, as we no longer read it as a solid. Sunlight
reflected in the visual stimulus.
This case study shows the potential for transferred surface techniques. The
Figure 29: Hive Concept (2013) by Sam Richardson [45]
comparatively balanced and appropriate to its scale. 6.
CONCLUSION
This paper has outlined some of the key approaches employed in architecture, which have been shown to be effective in disrupting surfaces, creating buildings with an aesthetic beauty appropriate to their stature and scale. Superyacht design in contrast, has traditionally relied on a design approach based on the form and finish of much smaller craft. As a result superyachts can be criticised for being overblown, incongruous and aesthetically inappropriate.
Figures 30: Hive Concept (2013) by Sam Richardson [45]
Though it too uses large unbroken surfaces (though yellow, not white), in this case they serve to purposely create an aesthetically arresting presence, so that the craft can be seen at distance, both from the air (for docking helicopters) and sea.
Disruption to the vast hull utilises a combination of techniques from architectural surface design:
1.
Colour. The two ochre hues darken the hull, whilst complimenting the yellow superstructure and contrasting with the white base layer. The colour reduces the perceived size of the vessel against its blue background (in comparison with a plain white hull).
2.
Graphics. The seemingly random pattern formed by tessellating hexagons of colour disrupts the white surface of the hull. The graphic elements are at almost human scale. Our perception of the surface changes with our proximity to the vessel (as with architecture). That the pattern is random and not regular lends intrigue. Aks & Sprott propose that we have an affinity for patterns that are random to the same degree as those found in nature [44].
The aesthetic of the superyacht can be refined (or even revolutionised) and given increased congruence with its surroundings by the disruption of large continuous white surfaces. The application of surface design techniques is a transfer of innovation from the
discipline of
architecture, which offers not only aesthetic benefits, but potentially, structural advantages, savings in material and weight, and increased efficiencies. This attempted to
identify those techniques that might be
applicable and relate them to the superyacht context. These have been illustrated through the case study design that has demonstrated how particular aesthetic elements can be transferred and applied.
This shift in aesthetic direction must of course be balanced with sympathy
to marine archetypes and
conventions; however there will always be a customer for evolving paradigms in luxury. Is it not also the responsibility of the designer to push design forward? As Le Corbusier exclaimed (in admiration of ocean liners): ‘Architecture is stifled by custom’ [46]. So – Towards a New (Marine) Architecture!
7. 1.
REFERENCES
SUPERYACHTS.COM (2014) The Top 100 Largest Live. [online] available from <
http://www.superyachts.com/largest- yachts/
worlds-largest-yachts-live.htm> [30 June 2014]
2.
ROY, J., SHALLCROSS, P., HARDY, A. AND BURNAY, S. (2011) Reducing the Environmental Impact of Large Yachts. The Royal Institution of Naval Architects, Design
paper has vessel’s aesthetic appears
glass adds further
©2014: The Royal Institution of Naval Architects
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