Trans RINA, Vol 157, Part C1, Intl J Marine Design, Jan - Dec 2015
addition, different services guide social activity on board. For example, dinner passenger alternative
groups together restaurants
within
traditionally at
larger (supplemental brings
tables, while in dinner)
smaller seating
increases intimacy with smaller table groups. It was resulted that the cruise experience is only po wellness and gym activities, i.e. program, stronglly in
decoration as an enabling and limiting actor: interior design can
actors. Social experiences enhance
social interaction, for through furniture arrangements, imp example
various facades and control the flow of people through the layout and dimensions of the space: “the po u
treatments rooms under guidance of the attendant,
m rove privacy via ositive
things about the ship are, there are many, many spaces where you actually can find some way a little bit to yourself
and
exercising in open spaces is done together with others, usually without guidance. It is interesting how an individual lounger serves as a single base for relaxation (i.e. sunbathing, reading and sleeping), but when paired or arranged in a group, loungers function as a basis for socialising. When passengers were forming their cruising experience network, some of
them sought out
information, had a central location in layout sense therefore was used as a meeting point.
[sic]” (Interviewee G). For example, beauty are provided to passengers in individual the
ht ossible
the context of the cruise ship where meals, y rely
on non-human actors. In Figure 3, these space-related non-human actors appear decoration
the form of layout highligh
or the This research made it clea
ordered from everyday distinctions, predictability, an social experiencing actor-networks. That is in line with the prior studies, which
experience emerges from escapism [23], guidance [61], social interaction [28], an which is utterly unlike des environment pe
[28, 30].
concluded that the cruise nd the design environment, the
ar that cruise experience is nd
sign from people’s everyd ay However,
alternative
erspective (ship design) and approach (ANT) enabled us to extent prior research on knowledge on how differrent
effect sets
Social), which result differen our
different actor-networks actors, which impact the ove
(Ambience, Design, an nt human responses. Whereas
n nd
n cruise experience with the actors of the cruise
experience are related. For example Kwortnik [28] has successfully d escribed the cruise experience through three different
u research approach resulted in the definition of three non-hum an
of human and erall experience of the cruis e.
Although three actor-networrks were a result of this study, the aim of actor-network theory is not to provide generic networks or identify generic lists of actors, but to illustrate an
actor-networrk for a
other
people while others sought a quieter place. In addition, reception and its crew had a central role in the social experiencing network as it functioned as a main source of e, and
Therefore, providing a definition for the generic acto network of a cruise experience was impossible, and only actor-networks among the individual passengers could be illustrated. Therefore, we observed connections betwe en actors and illustrated the most congruent networks bas ed on these findings and reallised that understanding the aims of individual actors is networks, including actors an
specific event. or-
s essential. When analysing nd their connections, enabl ed
us to identify what kinds of processes were taking place be
ehind user interpretations. In other words it revealed the interaction
be surrounding environment.
etween human and In
o stimulus from
interpreted the networks that they are participating in and their interpretations lead to certain responses, thereby creating the overall cruise experience for the passengers.
this process passengers n b
Therefore it is important to understand what kinds of goals individual networks are aiming at in order to realise e interconnected. In order to
the ways in which actors arre be
Figure 3: network of
5.
A visualisation portraying how the social experiencing emerges.
DISCUSSIONS
The aim of this article was to study the cruise ship how
environmen nt to create an understanding of
passengers’ cruise experiences emerge, and to prrovide insights that could be utilised Indeed this was done firs by extendin
in cruise ship design.
human-environment congruent
ng knowledge about cruise experience and three and
st by contributing to the literature interaction
by y
second, to our knowledge the new design application was demonstrated as we explored through Actor-Network Theory.
actor-networks of cruis e the
cruise expe erience © 2015: The Royal Institution of Naval Architects revealing experience actor-
e motivated to be a part of a certain network, the aims of the individual actor and the network aims must be in line. According to actor-n
actors participate in a networrk if the network can cater to their desires [9]. For example, we concluded that foo offers nourishment, and pampering for the passenger an meal times guide the cruise schedule, which in turn gives a rhythm to onboard
nd
approach of listing the individual actors has little value for understanding the relation of environment human experiences. However, valuable knowledge c an be achieved by understan connections of the actors.
living. Therefore the common to
e nding the entity, aims n
the and
Furthermore, if crew uniform, meal times, and crew are listed as an actors of cruise experience it has only little value, but if it is illustrated that these actors are engag ed in wordless communication (translation) it makes mu ch
network theory, individual od
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