Trans RINA, Vol 157, Part C1, Intl J Marine Design, Jan –Dec 2015
use of their own stairway. These are a duplex structure with a sun deck based on a SWATH platform to given the client the experience of freedom normally associated with a superyacht, the GA is shown in Figure 30. The lower deck has an open plan area of a lounge and bar with a spiral staircase connecting it to the master and guest suites of the upper deck. The lounge area can be readily reconfigured to a dining area for 6 guests and has a baby grand piano. There is also a cinema for 6 guests and a massage room, as well as the entrance lobby on the lower deck, crew accommodation for 6 crew, the galley and stores. Two of the crew rooms have balconies for the senior staff. On the upper deck the master and guest suites are en-suite with balconies. The sun deck has a hot tub and bar, as well as the navigational bridge. The front 3/4 view of the vessel is shown in Figure 31, where significant use of glass give the user a panoramic view of the sea and immersive experience. The curvature of the structure and the glass reduces the visual mass helping to resolve an exterior form with challenging proportions. A rendered image of the lounge and bar is shown in Figure 32. The docking area on the mothership (Figure 33) enables the SWATH apartment to integrate with the structure of
the mothership, where it provides extra
rooms for the apartment further adding to the sense of luxury when docked.
6. DISCUSSION The use of cultural attractors for triggering urban
development has often been coupled with the spectacular artefacts and flamboyant architectural performance. The metaphors of the entrepreneurial city of the city as a growth and
entertainment machine are useful in
describing competition among cities in such urban developments. Here there is a parallel in the development of
development theme for future competition. One of the paradoxical
cruise ships, where spectacularization is a results of
homogeneity of architectural key
spectacularization is the outcomes in radically
different cultural, aesthetic, urban, political, economic, social and institutional contexts. This homogeneity is not due merely to a genetic process of gloablisation but to the production and circulation of specific metaphors and narratives
regarding the urban impact of spectacular
architecture and their connections to financial and political mechanisms.
The design intersection between the contemporary urbanism evolution and entertainment spaces in cruise ships offers a unique and challenging design opportunity. In the cruise ship market where the main objective the ship owner is to maximise achievable revenue, through designed user experiences, which are conceived from this perspective. For example, in a casino the use of warm favour gaming. At the same time designers need to work in a "free zone" multilayered by cultural patterns, social attitudes, aesthetic references, architectural languages, etc. Where rules are not defined, and they have to experiment with new innovative spatial and formal solutions facilitated by cruise companies investment in technology innovation to achieve the "wow effect" and deliver the "urban scene" experience. Where the design approach is open, innovative, experimental, and urban, but strongly oriented to business. The design approach is based on multi-disciplinary design practices from interior architecture to environmental psychology.
Figure 32: Interior view of SWATH apartment dining area
Figure 33: mothership C-26 SWATH apartment docking port on
Clearly, cruise ship designers, as well as the service team tasked with enacting the cruise performance must carefully attend to seemingly minor ambient irritants given the potentially serious negative effects on the physiological, emotional, and behavioral responses of cruise passengers. Kwortnik's [4] analysis of cruiser discussions about ship layout and facilities revealed a related theme: cruisers desire escape from the mundane elements present in their daily lives, yet the trend of larger ships (and consequent crowding and queues) and proliferation of amusement-park-like entertainment amenities and shopping centres that are also found “on land” hampers experiential escape and instead yields avoidance behavior. This response to the space/function of the shipscape supports criticism that modern ships designed for the mass-market tourist create “captive consumers”. However, he also find that many cruisers are drawn to the entertainment architecture, are enchanted by it, and crave more of it though some
© 2015: The Royal Institution of Naval Architects
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