Trans RINA, Vol 157, Part C1, Intl J Marine Design, Jan - Dec 2015 depending, for example, on memories the product


invokes or on the particular circumstances of use. Yet other emotions result from concerns outside the object, such as the status it might or might not bestow. [7]


Design Considerations


Behavioural Expect induced reactions


Visceral Appearanc ce Utility Designer


Perceptually induced reactions


Reflect Intelle


ation‐ tive


ectually


induced reactions


User


Gestalt moves away from mathematical and scientific rinciples. Ge stalt is based on the idea that


pr


spectator, feelings of tension or ba


structure as


alance can be established. simply as


characteristics are more dynamic and evoke in the a


The goal i s to generate a possible


discomfort until in the


given


circumstances. Simply refers to characteristics li ke symmetry, regularity, harmony. Gestalt focuses partly on how the user processes visual aspects of a whole design:


 


Global perception: Scanning for familiar patterns and shapes; looking at the whole image Attentive global process


details, deliberately focusing on objects.


In other words what you see depends upon whether you are scanning for overall pattern or detail. The approach utilises principles such as symmetry, geometry, patterns. The following principles are important to any design activity:


proximity;


visually lengthen the vehicle and give it a sense of dynamic/speed. More round


Figure 3: Th he Designer’s View of the vessel differs from the User’s view, adapted from [6].


Designers have more control over users’ Visceral and Behavioural reactions


attempts to provide emotional affordances. than Reflective ones, butt even


here, the control is indirect at best. The attempts of designers to influence these reactions are characterize as In other


words, designers can do things that provide opportunities for the experience of emotions in users, just as, by building in physical affordances, they can influen ce the possibility of an object being manipulated and controlled. But whether affordances are actually made use of is beyond the designer’s control. [6]


c 3. AESTHETIC PRINCIPLES


The Golden Ratio is the generally accepted aesthet preferred proportion of 1:1.62 from which we deriv golden rectangle and golden ellipse. It can be seen in Figure 4, that the VW Beetle body fits comfortably with the top half of the golden ellipse.


tically ve the


Cute, baby‐like features Rounded, large


features, symmetry Angry, aggressive, with angular features Figure 5: Design language metaphors 4.


WFSV EXTERIOR FORM AESTHETIC DEVELOPMENT


T


The Mainprize Offshore M02 is shown in front 3/4 view in Figure 6, it represent a utilitarian approach to design with a good use of colour scheme.


Figure 4: Golden ellipse applied to VW Beetle [8]


look less dynamic but friendly. The design language visual metaphors shown in Figure 5, convey the opposite design


sing: Paying attention to the


visual


similarity; continuation. Lines ded features make the vehicle


languages of friendly and cute, and angry, aggressive. The friendly and cute metaphor, has baby- like features which are rounded large and based on symmetry. Whereas the angry, aggressive metaphor has angular features like the lioness. [8]


© 2015: The Royal Institution of Naval Architects


C-129


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