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


DESIGN-DRIVEN INNOVATION: A NEW DESIGN MEANING FOR SUPERYACHTS AS A LESS EGOCENTRIC USER EXPERIENCE (DOI No. 103940/rina.ijmd.2015.c1.37)


S McCartan and T Thompson, EBDIG-IRC, Coventry University, UK L Mori and A Brossa, De Jorio Design International, Genoa, Italy B Verheijden, Academy Minerva, Groningen, The Netherlands


SUMMARY


This paper examines the relationship and commonality between contemporary cruise ship technologically, innovative interior concepts and the possible future evolution of the megayacht. Due to significant investment in developing new entertainment pathways from a multicultural perspective, the cruise sector is more progressive than the superyacht industry, which primarily focuses on exterior aesthetics and bespoke client luxury informed by cultural specificity. Moving beyond LY3 to the use of SOLAS PYC 13-36 on a larger interior area vessel platform than current superyachts, either monohull or catamaran, greater than 100m LOA, facilitates the opportunity to use the interior design meaning of a cruise ship with an atrium stairwell as a design focal point inspired by the emotional design of luxury hotels and a range of lounge variations to be used as an adaptable space.


This paper presents a Transfer of Innovation (TOI) of a conceptual design approach to support the evolution of the megayacht towards a less egocentric product, informed by the design practices of the cruise ship industry. Addressing the market sector between superyachts and ultra-luxury cruise ships,


through a new design meaning informed by


technological innovation through the process of Design-Driven Innovation. Contemporary trends in cruise ship are rapidly evolving towards spectacularization and dematerialization. Entertainment is a core focus for cruise companies, immersing the passengers in a range of emotionally engaging experiences, which continuously change in space and time, resulting in the ever growing investments in entertainment technology. The passenger is attracted in an emotional path, constructed to give surprise and delight at every corner, through formal stereotypes, pop culture, and live shows. The main key trends of which are discussed, such as the use of large adaptable spaces, and the creation of a continuous passengers’ flux along the ship in an urban-like environment, where different design languages meet.


1. INTRODUCTION


As superyachts evolve into megayachts we see projects develop which are bespoke floating architecture representing


an expression of the personality and


aspirations of the owner, as a design client. These design proposals are generally culturally specific in interior theme and with predefined spatial layout


and


functionality such as: dining room; lounge; cinema; owners suite; guest suite; tender space; beach club; sun deck. The analysis of people flow developed through the experience of the superyacht designer and dialogue with the client, combined with interior


proposals, informs the GA from which the detailed interior


design is Onio developed. started to In recent build up the idea of


the diversity of demogaphics and interest. Contemporary trends in cruise ship are


rapidly evolving towards


spectacularization and dematerialization. Entertainment is a core focus for cruise companies, immersing the passengers in a range of emotionally


engaging


experiences, which continuously change in space and time, resulting in the ever growing investments in entertainment technology. The passenger is attracted in an emotional path, constructed to give surprise and delight at every corner, through formal stereotypes, pop culture and live shows. The main key trends are the use of large


adaptable spaces, and the creation of a


design theme years the


development of domotic control systems and the use of adaptable space such as the pop up yachts developed by Espen


spectacularization of the user experience. Where the idea of transformational space to optimise the layout adds value to the user experience. Infotainment and multimedia systems have been developed to enhance the sense of luxury through enhanced user interaction with control of the environment. Typical room heights are 2.1m to optimise the interior constraints of stylised exterior.


volume within the


Cruise ships have a very different approach to design engaging with the cultural diversity of the end users and


© 2015: The Royal Institution of Naval Architects the


continuous passengers’ flux along the ship in an urban- like environment, where different design languages meet. The architectural layout has a significant connection to luxury hotels with large flowing atriums and mezzanine dining spaces, embodying the design meaning of a floating luxury resort. It is about the vastness of architectural statement.


The nature of the cruise ship compared to a superyacht as a product is different as is not an individually owned or chartered scheduled


private space for intimate or


corporate gatherings, as is the case of a superyacht. A cruise ship is a curated experience, designed to develop emotional sustainability with the user. It is about social interaction and experiential service design, not the seamless integration of service by minimised interaction of crew and a client group of 12 through people flow


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