Trans RINA, Vol 157, Part C1, Intl J Marine Design, Jan –Dec 2015
analysis. The curation of the experience on a cruise ship is achieved through themes in spatial organisation with layers on experience of technology, based on mass entertainment and communications tools.
Both superyachts and cruiseships have a commonality of differentiation, as tailor made bespoke experiences and reflection experience
of is
user experience. primarily
of supported The benefit cruiseship to user guests as a
democritisation of luxury, this is achieved through localised zoning,
by: sound; lighting;
multimedia. Where new interface layered HCI enables the co-creating of bespoke user experiences, for a large number of passengers in a shared space.
1.1 SPECTACULARIZATION
Spectacularization has become necessary in architecture to enable locations to be recognized on the global stage. Cities can only achieve this in the new world order if they are places of distinct spectacle, through events, museums, ancient remains, festivals, galleries, meetings, sports events and iconic shops, universities, and especially new and refurbished iconic buildings. This suggest that a number of different elements and made to contribute to its distinction on the global stage. Over the last decade, increasing attention has been given to the role of architectural celebrities, not only in designing buildings and complexes or in regenerating urban areas, but also in relation to city branding and marketing. As cities becoming brands competing to attract people. The narrative of the 'Bilbao effect' has spread widely in both post industrial and emerging economies, leading cities to compete in the collecting new buildings and cultural facilities, with little consideration of the purpose of these infrastructures and edificies both in their urban context and in the global market. An example of spectacular architecture and the international cultural projects is the ongoing urban transformation in Bilbao and the proposal for Guggenheim museums in Europe, Asia and America.[1]
The support of a limited number of global architectural firms and of
tends to homogenize the urban and cultural landscapes of cities while, paradoxically these very cities seek to distinguish themselves by hiring famous architects or hosting distinct cultural activities. A better understanding of this phenomenon and of how cultural politics might mediate various interests or induce the redistribution of positive effects in a larger set of social actors and groups, is crucial both to urban planning in general and to urban cultural policy making. Ponzini [1] proposes that the interpretation of
outstanding and meaningful
architectural interventions should be discussed not as the definition of isolated aesthetic spaces or as the accomplishment of a given spatial or functional order, but as the exploration of possible transformations in the urban landscape and
of its different material and immaterial uses. This perspective implies a cultural similar cultural services and institutions conception of its material and symbolic construction
through time, rather than just an accumulation of the icons and spectacles to be consumed by the media and private investors. In the beginning of 2008 three global cities unveiled a piece of architecture by Zaha Hadid. The striking aesthetics are only one feature. What may be more characteristic are the transcendence of genre and style boundaries, combined with the importance of the media and marketing
performance of the famous
architect, the limited consideration afforded to the surrounding forms of urban living,
the leveraging of
locations, the intersection of private interests and the deployment of old or new symbols of contemporary cities.
Many brands are now aligning themselves with famous architects, such as: de Portzamparc for Louis Vuittion; Hadid for BMW; Sanaa for Dior. Architects today in the production of images and design meanings now have an important role communicating the brand. In the past many architects transcended the boundaries between different art forms. Now they consciously form identities for private companies and public administrations through design. Whereby aesthetics and enigmatic architectural icons shape social and media visibility as a means of design communication. Whereby the aesthetic can cause individuals to consider the artistic and communicative value of one building or a place. Ponzini [1] refers to Bernard Tschumi conceptualized strategies of contemporary architecture: to de-familiarize architectural views and spaces; to fragment and diversify architectural codes and languages, through the implementation of innovative building technologies. This contestation of formal and functional hierarchies is a typical means of reaching unusual and eye-catching results, requiring the user to interpret these new urban signifiers. Spectacularization can result in a formal and meaningful distinction
of buildings in the urban environment.
Transforming them into images for celebrating the past, hosting cultural, entertainment or sports events, or promoting tourism. The importance of social and media interpretation rather than the actual experiential value of the building and functional features is pivotal to spectacularization.
2. EMOTIONAL DESIGN AND THE SHIPSCAPE
The concept of the superliner, as an imposing and ornate floating hotel, was developed in the early 20th century. The
design attempted to minimize the discomfort
of ocean travel, through elegant accommodation and planned activities to hide the reality of being at sea in extreme weather. The Mauritania and the Lusitania then promoted the romance of the voyage, where speed was the priority. The White Star Line, went on to introduce luxurious passenger ships in the Olympic and sister ship Titanic. Space and passenger comfort took precedence over speed, resulting in larger and more stable liners [2]. The 1960s were the start of the modern
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© 2015: The Royal Institution of Naval Architects
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