Trans RINA, Vol 157, Part C1, Intl J Marine Design, Jan –Dec 2015


roportions. As the customer gets closer to the c surfaces come into focus. Eventually, details such as door handles, and exterior trim parts are e xperienced. Then opening the door


car, ces such as the trim parts. Finally they


detail. The firs t look catches the vehicle’s body style and pr


the customer experiences the


interior by observing the proportions, followed by the interior surfac


experience the ergonomics and develop perceived value of the detail design such as the control elements and displays. The levels of vehicle design perception are shown in Figure 1.


Figure 2: Cars with sttrong communication [5]


exterior


styling


Considering the distinction 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


reactions that people have to products systems) and their interactions


with Figure 1: Levels of vehicle design perception [5]


The first characteristic of a car that catches a potential customer’s pe


attention, engaging their emotional


erception is the aesthetic appearance of its exterior styling. Automotive form language has been developed in the superyacht industry for some time and in recent sel


years it has been implemented in the commercial vess industry. Where brand


specific styling features


differentiate a vessel from its competitors, as is the case with the car industry.[5]


Both from the customer’s and society’s viewpoin 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 followiing cars, shown in Figure 2, have distinctive exterior styliing that communicates very strong but different statements about the owner: Bentley


nt, Arnage, luxurious and


comfortable; Lamborghini Reventon, provocation and radicality; MINI Cooper, emotion and fun; Porsche 911 Turbo, power and sportiness. Comparatively Ulste Damen, Royal IHC, and Vard have commercial vessels with distinctive but different messages. Exterior styling is responsible for that visceral response of 'love at fiirst 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 that they


ein, the commercial vessel sector show developing an appreciation of this realisation. [5] C-128 are challenged by constraints


reactions have a broad spectrum, including relatively short-term emotions and longe


moods, preferences, and attiitudes. The such as


appearance, cost, characteristtiics of fu unctionality, existing market


segments and competitors, and brand-identity issues.[6] In terms of visceral emotional response


and From the perspective of are and design


meaning, functionality and appearance ar e the most relevant for understanding the relation between emotion design.


the user,


functionality and appearance are important, but for different reasons and in different ways. These two aspects of the design space are the principal sources of affective reactions. There


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 [7] refers to as Visceral (perceptually based), Behavioural (expectation based), and Reflect tive (intellectually based) relationship


aspects of design, Figure 3 shows the between the two perspectives.[6


6] Differences between designer a and user per spectives of


the same product are particularly evident with respect to the role of emotions. The designegn r may intend to induce emotions through the design,


than the product itself, the emotions the user but because emotions


(which are a special, but particularly salient form of affective reaction) reside in the user of the product rather in


experiences are not necessarrily the same as those intended by the designer. While, some of the emotions the user might experience might have been intended by the designer, some might not. Some might be just the opposite of those intended by the designer. Product- induced emotions are often quite


idiosyncratic,


er term reactions such as designer


source of the affective (vessels and them. These


is


© 2015: The Royal Instittu


ution of Naval Architects


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