Trans RINA, Vol 157, Part C1, Intl J Marine Design, Jan - Dec 2015
cruise industry where a “fun ship” image was presented which attracted many passengers who would have never have had the opportunity to travel on the superliners of the 1930s
and1940s. These ships concentrated on
creating a casual environment and providing extensive on-board entertainment. There was a shift in emphasis from transporting people in luxury, to a destination, to the voyage itself. This democratisation of the luxury cruising has changed it from its elitist beginnings into something more accessible to a larger and growing market [2].Over the years, cruise lines have expanded itineraries to include more diverse ports of call and convenient embarkation ports and have also introduced innovative onboard amenities and facilities that rival land-based options. These activities have supported the significant growth of the industry sector [3]. Modern cruise ships are a combination floating resort hotel, sightseeing vessel, gourmet
restaurant, food court,
nightclub, shopping center, entertainment complex, and recreation facility. Cruises offer a range of services, from the utilitarian offerings of transportation, lodging, and meals, to the intangible hedonic
benefits embedded in
symbolic, emotional, and pampered
personal
service. Cruise programs feature all manner of participatory social and learning options, from parties for passengers with shared hobbies or interests, sporting contests, and games, to wine-tasting and art auctions, dance lessons, expert
lectures, cooking and dessert- making demonstrations, computer classes, and more.[4]
Carnival Cruise Lines redefined both the aesthetic of the cruise vacation itself and the public’s perception of cruising. In 1970, only a small number of Americans had ever been on an ocean cruise, and few would have considered it an option. The launch of the TV show The Love Boat in 1977 supported the visibility of cruising and constructed the popular image of what a cruise vacation was all about. By 1988, word of cruising had begun to spread, and more than 3 million had taken a cruise of three days or longer. By the 1990s, cruising had become the fastest-growing segment of the vacation business, and by 1997 the North American cruise industry was carrying nearly 5 million passengers annually and was worth over US$7 billion. This democratization of leisure cruising by Carnival Cruise Lines,
from an elite option for the wealthy to an
increasingly popular mass-market vacation for all, demonstrates the desire for an aesthetic of pleasure and accessibility that meshes particularly well with late 20th- century myths of classlessness in the United States, and with constructs of American national identity that favor and uplift notions of non-pretentiousness, playfulness, and inclusiveness. Kolberg [5] argues that Carnival cruise ships embody
an aesthetic of overflowing
juxtaposition and freneticism that seeks to symbolically annihilate class differences and redistribute power by enacting neoliberal
fantasies of freedom, access, and democracy as enacted in the marketplace.
The initial design team for Carnival cruise ships responsible for constructing a dreamworld of fun was lead by Joe ‘‘entertainment
Farcus as an implementation of architecture’’ approach to interior
his
architecture for all of the Carnival branded ships. This aesthetic style merged popular icons from across time periods and from across geographical boundaries. These interiors were glitzy, shiny, tangible worlds of color. Farcus used light and colour innovations to construct the ‘‘fourth dimension’’, or sense of time through computer- controlled dimmers constantly, although slowly and almost imperceptibly, changing the colors of the lights, resulting in vibrant hues creating the dramatic illusion that the entire atrium
Carnival’s early ships embodied exuberance and excess. Carnivals
Fantasy class,
itself was changing color. also conveyed a sort of
accessible over-the-top attitude. The garish style of Carnival, with its constant juxtaposition, presented the ships as demarcated worlds apart in which passengers were encouraged to cast aside the attitudes and activities of their everyday lives. Carnival cruise ships were marketed as spaces in which people from all walks of life could supposedly be united in their pursuit of the eye- catching, and the self-consciously garish. This aesthetic was in stark contrast to the sleek and minimal style of up market cruise lines, embodying an aesthetic of accessible excess with the design meaning of theme parks and shopping centres, as opposed to the aesthetic of refinement. In constructing their democratized spaces of leisure, Farcus embraced an aesthetic of play and made concerted efforts to diverge class striation.[5]
Carnival’s deliberate construction of playful juxtaposition
embodied the ethos melange. The interiors of postmodern overflowed with historical
juxtaposition, cultural borrowing, and a wide range of signifiers from the past, most of which were utilized to signify good times in the present. The cruise ship as a design format has been particularly adept at depicting this postmodern style. While the sparkle of a Carnival cruise ship helped construct a fantasy realm, the shiny metallic surfaces and glittering lights also associated the Carnival aesthetic with that of discos and themed hotels, as popular spaces of leisure. [5]
In 1999 the Voyager of the Sea was launched by Royal Caribbean International (RCI) marked a significant change in Emotional Design for the user.
It was 30%
larger in displacement than contemporary cruise ships and capable of carrying more than 3,800 passengers. It had new innovative design elements, including: an ice- skating rink; a nine-hole miniature golf course; an in-line skating track; a full-size basketball court; a shopping promenade; a rock-climbing wall on the rear of the ship’s funnel. These amenities were in addition to the numerous bars and restaurants, spa, fitness center, pools, theater, disco, casino, video arcade, children’s play zone, and balconied cabins also found on many new cruise ships. RCI launched the Freedom of
the Seas in 2006, at 158,000 ton, which featured the industry’s first “aqua
© 2015: The Royal Institution of Naval Architects
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