Trans RINA, Vol 157, Part C1, Intl J Marine Design, Jan - Dec 2015
cruisers would prefer that future facilities focus less on amusement concepts and more on the shipscape-seascape connection. These tensions between larger vs smaller ships and modern vs traditional entertainment facilities can be expected to challenge cruise ship designers who strive to appeal
to the broadest
increasingly diverse preferences. Hospitality
cruiser market and
expression of specific knowledge and capability, is a philosophy of service that develops
in the shipscape, besides being an through
multifarious modalities. Knowingly using the diverse typologies of main and satellite spaces, whose personality and morphological peculiarity may transmit with immediacy and precision the very image that a cruise company intends to give itself. Therefore, one can understand the strategic value of knowing how to govern the messages implicit in creative projects that involve the definition of public spaces and emblematic par excellence. Here the sub-spaces of support and service to the separate activities of hospitality are critical. Such as the reception and exchange offices, the cocktail bars and lounges dedicated to groups, or the means of vertical and horizontal communication characterised by stairs and lifts. For each of these spaces different regulations exist along with specific functional, technical and management prerequisites that inform their design. However the personality that is attributed to them with interior design is, although closely linked with these constraints, is the main communication tool with which the public perceives the image of the company. From this interior personality one can really measure the quality and the standard of the hosting structure.
The intrinsic and homogeneous quality of design therefore becomes a strategic objective of global investment, on the same level as any other tool aimed at attainment of a determinate qualitative level of hospitality. One of the salient aspects in the design methodology of DJDI besides the systematic application of design criteria in the architectonic scale, resides truly in the semantic value attributed to each planned space. Whether one is dealing with a large and emblematic space or a space of connection or a simple stairway, each of them has a precise role in the formation of the global image of the organism, and therefore equal importance. A greater qualitative and artistic homogeneity not only allows one to avoid an incomprehensible division of the space, but confers a positive characteristic of continuity and quality to the entire environment. This
offers
to nationality and routes. For example MSC differs from Carnival, in that it has a more "European" layout design underpinned by elegance in the materials and finishing choices, as have Compagnie du Ponant and Silversea. Today the cruise ship scenario is characterized by globalization of design languages supported by the media and the internet. Where cruise ship passengers are ever more persuaded to be immersed in a talent show. The anomaly in this
trend is the new and rapidly
developing Chinese market, where passengers are generally not open to experiential aspects of other cultures, such as an appreciation for Italian food.
The global cruise industry is learning how to address the cultural specificity of luxury in the Chinese shipscape. As the markets in the U.S. and Canada approach saturation, Carnival and Royal Caribbean Cruises, have been developing in the Far East market. Costa Crociere, which is owned by Carnival, was the first company to enter China, in 2006, followed by Royal Caribbean in 2007 and Princess Cruises, another Carnival brand, in 2014. The cruise business in China is still small. In 2014 over 700,000 Chinese travellers cruised, compared with 10 million Americans and more than
6 million
Europeans. But the market is experiencing exponential growth increasing 79% from 2012 to 2014. In the U.S. and Australia, 3.5% of the population cruises each year; the proportion in China is less than 1/60 of that. On this basis forecasters estimate that China will become the second largest market by 2017 and that
it could
eventually replace the U.S. as the largest in the world. Chinese regional governments have already built cruise terminals in Sanya, Shanghai, Tianjin, and Xiamen, with more on the way in at least four other coastal cities. Cruise companies must rethink the entire cruise experience, from food to décor to how a rapidly capitalizing society thinks about class and luxury. The fluid and evolving nature of luxury in China offers a significant opportunity for Design-Driven Innovation as the cruise sector will provide suitable infrastructure for mega-yachts in terms of ports and a cultural insight into megayachts through the cruise ship high end experience [22]
The multidisciplinary approach to cruise ships design offers a significant opportunity
for Design-Driven a
significant return in terms of image and standard, for the structure of hospitality, with a perceived value significantly higher than the actual level of investment.
Cultural specificity of luxury is critical to the user experience and design language of the cruise ship brand. Where every company has different brand styling, linked
Innovation. Given the capability of the sociological and conceptual analyses to create an evolution in the design process of both mega-yacht design and the significant market opportunity between mega-yachts and cruise ships. Where the opportunity for DDI would be to engage a more sophisticated owners (single or groups) whom are not attracted by cruise travel. This group could be attracted through a range of ownership and charter models, such as the Porsche Design RFF135 catamaran. This superyacht was built in conjunction with Porsche Design Group, Singapore-based megayacht
builder
Royal Falcon Fleet, Incat Crowther and Kockums. It has an Loa of 41.2m, can achieve 35 knots and is currently listed for sale at 35,000,000 Euros. It can accommodate
© 2015: The Royal Institution of Naval Architects
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