Design-Driven Innovation (DDI) in Superyacht Design
SUMMARY
Luxury has a transcendent quality that is related to a client’s aspirations. Luxification refers to the continual need for
designers to evolve the perception of luxury in their design process, in order to counteract devaluation through
reinterpretation of their design language into smaller, or higher production volume vessels. To facilitate luxification,
boat designers must implement a design-driven innovation strategy, as clients do not buy products but meanings. They
use objects for profound emotional, psychological, and socio-cultural reasons as well as utilitarian ones. Designers
should therefore look beyond features, functions and performance and understand the real meanings users give to things.
Design-driven innovation involves a radical innovation of meaning; it has been a well established design approach in
product design with companies engaging in emotional design for the past 16 years. The interplay between design-driven
and technology-push innovation is the basis of some of the most successful products such as the Apple iPod. This
document presents three boat design concepts developed through design-driven and technology-push innovation to
achieve a ‘technological epiphany’. The first design employs domotics to adapt the functionality of exterior space
allowing the vessel to have a more minimalistic approach to interior design; as a result a more luxurious interior is
created with the feel of a larger vessel. The second concept transformed the meaning of what a charter vessel. By
offering a modular interchangeable interior which is stored and transported in TEUs, the charter client is provided with
the experience of a bespoke interior. The third design demonstrates significant use of structural glass to immerse the user
in the marine environment with the feel of a luxury hotel upon the water.
1.
INTRODUCTION
An appreciation of pleasure and luxury is fast becoming
of primary importance to both the consumer and the
design industry alike. Consumers want design
functionality and usability as well as products that elicit
other feelings such as luxury and pleasure, as well as
satisfying more emotional needs.
Boats, and particularly super yachts represent the higher
echelons of luxury goods; they are synonymous with the
lifestyle of the rich and famous. They are also marketed
as such with brand association, new market
opportunities, such as fractional ownership and
chartering, open up boats to a wider market.
Contemporary luxury delves into a new consumer
psychology that transcends the boat as a product, to a
new level of enhanced experience, deeper meaning,
richer enjoyment, and more profound feelings. Boat
owners and charter clients are seeking new experiences
and valuing them more, rather than pursuing materialism
for its own sake. An understanding of contemporary
luxury is therefore critical to inform an effective design
process.
1.1
LUXIFICATION
Due to the evolving nature of consumers’ sense of
luxury, Danziger [1] proposed the following three
strategic design opportunities in today’s luxury
marketplace, that can be implemented individually or in
combination:
 The only design strategy that can effectively propel a
brand into the future is to continually enhance the
intrinsic luxury value of the products, regardless of
product position in the market. This upward perpetual
motion is to be driven by a continual reinvention of the
brand, moving more up-market by adding more luxury
value.
 Shifting down-market by taking the essential luxury
brand proposition to a more moderate price point.
 Extending the brand across new product categories
while maintaining the brand’s core emotional values.
Luxury is introduced and embraced by the affluent;
eventually it is translated and reinterpreted by the mass
market. Boat Designers must engage with the concept of
luxury in order to discover new and different ways to
give expression to consumer’s evolving fantasies and
desires of luxury. Luxification is the continual need for
designers to enhance the intrinsic luxury value of their
design DNA to counteract the devaluation by mass
market reinterpretation [1].
Luxury has a transcendent quality related to a
consumer’s aspirations and dreams. It exists in the
fantasy realm of the consumer; once it is attained the
extraordinary is transformed into the ordinary. The
consumer then begins to desire something even more
luxurious. Thus luxury is fundamentally about the
unattainable, this is referred to as the metaphysics of
luxury [1]. It is about aspirations and dreams, and not
about the physical or material reality. Boat Designers,
with the support of marketing strategists, need to connect
with these aspirations, by profiling the specific client, or
range of clients, through the use of personas and cultural
research.
1.2
DESIGN-DRIVEN INNOVATION
To facilitate luxification, boat designers should consider
implementing a design-driven innovation strategy as is
often employed within product design. Verganti [2]
reported two major findings relating to the strategy that
have characterised the management literature in the past
decades. The first being radical innovation a major
sources of long-term competitive advantage, generally
involving radical technological innovation. The second
that people do not buy products but meanings. People use
things for profound emotional, psychological, and sociocultural reasons as well as utilitarian ones. Analysts have
shown that every product and service in consumer as
well as industrial markets has a meaning [2]. Firms
should therefore look beyond features, functions and
performance, and understand the real meanings users
give to things. The common assumption is that meanings
are not a subject for innovation. Meanings have
intensively populated the literature on marketing and
branding [2]. User-centred perspectives have recently
provided powerful methods for understanding how users
currently give meaning to existing things [3].
Innovation has focussed on two strategies: quantum leaps
in product performance enabled by breakthrough
technologies, and improved product solutions enabled by
better analysis of users’ needs. The former is the domain
of radical innovation of technology push, and the latter of
incremental innovation of market pull (see Fig.1).
Figure 1: The strategy of design-driven innovation as the
radical change of meanings [2]
A third strategy, design-driven innovation involves a
radical innovation of meaning. Here, designers propose a
different and unexpected meaning, for example Artemide
in redesigning a lamp rather than developing a more
beautiful object produced a light that makes you feel
better. This design meaning was what people were
actually waiting for. Design-driven innovation is at the
heart of numerous success stories of products and firms.
[4]
Alessi in 1993 proposed a radical new meaning for their
kitchenware developed through years of serious research:
household items as objects of affection, as substitute
teddy bears for adults. Alessi were talking to our inner
child. During the past 15 years this vision has inspired
many companies to engage in emotional design. The
design-driven innovations introduced by firms have not
come from the market but have created huge markets.
They have generated products, services and systems with
long lives, significant and sustainable profit margins, and
brand value, spurring company growth [2].
1.3 EMOTIONAL DESIGN
People gain pleasure from products that meet their
functional and supra-functional needs, as defined in the
most comprehensive terms. Indeed, now that adequate
product functionality is the norm, supra-functional
factors are being recognized as more important.
Emotional bonding, symbolic representation, tribal
connections, subculture references, and so on all form
part of the language defining product personality and
product semantics [5]. People relate to products in
individual and interesting ways. Different people relate
to the same product in their own particular way,
depending upon its characteristics and their own.
Material possessions serve as symbolic expressions of
who we are. The clothes we wear, the household items
we buy, the car we drive, all enable us to express our
personality, social standing, and wealth. The nature of a
product can be described as a product personality, and it
is this, that determines the relationships that users
develop with different products. [6].
Gender and product personality traits impact upon
perceived functional (utilitarian) performance of a
product, but it is also affected by supra-functional factors
(appearance, symbolism, and sensorial experience).
These supra-functional factors interact with the
functional aspects, and with the users themselves in a
variety of ways. For this interaction to be satisfying for
the user, the various aspects have to be complimentary,
consistent, coherent, and mutually reinforcing, or the
outcome will be confused and unfulfilling. Not all of the
relationships that people have with the products that they
own will be satisfying—there are many ways in which a
product and the user come into contact. If the user
perceives a product is not made for them, psychological
barriers can develop. Fortunately, there is much to be
learnt from user-product relationships that are less than
ideal.
Some products may be obviously gendered in a way that
connects with potential users, whilst others may be
neutral. Some elaboration of terminology may be helpful
here. Products can be neutral, or female (evoke
stereotypes of women) or feminine (associated with use
by women), or male (evoke male stereotypes) or
masculine (associated with use by men) [7]. The
distinction is a subtle, but important one, particularly in
the case of cars, the most complex product most of us
use. But products do not have to be gendered, or exhibit
gender characteristics at all, and the degree to which
these characteristics are demonstrated can also vary. As
with human sexuality, the spectrum between the
extremes is broad and diverse. The emerging interest in
the emotional domain of design has highlighted peoples’
need for products with personalities that they can bond
with [7].
1.4
TECHNOLOGICAL EPIPHANY
The interaction between radical innovation of meanings
and radical innovation of technologies can transform the
competition within an industry. This is represented by the
upper-right corner of the map of innovation strategy
illustrated in Figure 2, where technology-push and
design-driven innovation overlap.
Figure 2: The interplay between technology-push and
design-driven innovation [2]
Although these two strategies do not conflict, companies
tend to implement only one of them. For example Alessi
are leaders in the radical innovation of meanings, but are
follower in technological innovation. The two strategies
are complimentary as technological and socio-cultural
models are inextricably linked and evolve together in
innovation cycles. The interaction between design-driven
and technology-push innovation is the basis for
successful products such as the Apple iPod. This
example shows that when a novel technology emerges,
conservative companies simply substitute it for an old
one, without generating a new design meaning for the
product. A new technology often hides a significant
meaning, which when revealed achieves a technology
epiphany, thus becoming a market leader [2].
The process of design-driven innovation is an
exploratory research project, which aims to create an
entire breakthrough product family or new business. It
occurs before product development (Figure 3). It is not
the fast creative brainstorming sessions that are typical of
concept generation but a design investigation similar to
technological research.[8]
Figure 3: Design-driven innovation as research [8]
In essence, it is the development of a design scenario
through engaging with a range of interpreters in
technology and cultural production. Knowledge is
generated from immersion with the design discourse of
the interpreters groups. The process can be structured or
unstructured and is dependent upon the nature of the
relationship of the client with the interpreters. A
structured approach would be the design direction
workshops proposed by Barilla [2]. The workshops are
aimed at sharing knowledge from the design discourse
and identifying new meaning and languages. The
workshops have the following activities: envision; share;
connect; select; embody.
Envision involves producing insights. Key interpreters
who have a hinterland of research are asked to envision
the implications of their research and design explorations
in the context of the project. They give form to their
insights through various media: metaphors; analogies;
stories; prototypes. The process can take weeks or
months. It involves the creation of a new scenario for the
product, rather than the fast generation of several creative
ideas.
The next stage in the process involves sharing insights;
the results of the previous activity are discussed and
enriched through modification. The connect stage
involves building possible design scenarios by finding
connections between participants proposals. This will
result in several dimensions by which the participants’
insights can be organised. Using the two most significant
of these, allows four key scenarios to be identified.
The selection process involves using assessment criteria
to evaluate the product design dimensions. An example
of this is Alessi's "Formula for success", where there are
four
factors:
functionality;
cost;
communication/language; sensation/memory/imagery.
The latter two factors are specific to design-driven
innovation. Communication/language refers to the
product's symbolic meaning and to the social motivation
that
leads
people
to
purchase
it.
Sensation/memory/imagery refers to the product's
emotional and poetic meaning and to the intimate
motivations that lead people to purchase it [2].
1.3
LUXURY AND SUSTAINABILITY
Superyachts offer a unique opportunity to display power
and wealth, but considering that the shortest of the top 25
superyachts in 2009 was 91m there is a considerable
carbon footprint associated with the use of such vessels.
The progressive development of increasingly larger
vessels is the predictable consequence of the competitive
nature of the owners operating on the assumption that the
largest vessel, with the biggest budget will acquire a
higher status.
Green envy, offers the most competitive of owners a new
edge over their rivals. The philosophy behind green
superyacht design is to give the owner the perception of
being more socially responsible, as superyacht owners
are typically intelligent and aware of how they are
perceived by the world. The production costs are
expected to be 15-20% higher than conventional, but this
will be offset against lower maintenance costs and an
enhanced resale value. The added value of the RINA
(Registro Italiano Navale) Green Star award for
environmental efficiency will become even more
important as governments begin to enforce the
regulations that have already been imposed on marine
sanctuaries around the world. On this basis, it is believed
that over the next few years yacht owners will begin to
compete on the basis of their environmental footprint.
Lurssen set a new green benchmark in 2005 with the
launch of Ice in response to the Kyoto protocol and the
use of carbon offsetting is a developing green business
opportunity. Environmental sensitivity is now going to
be pivotal to the future design and servicing of
superyachts. This will reflect a shift from conspicuous
consumption to environmental consciousness [9].
Ethereal, a 58m Ketch designed by Ron Holland
embraces the green superyacht design philosophy. This is
a misnomer as no superyacht regardless of its energy
efficiency could claim to be green. This one for instance
has five engines despite being a sailing yacht. It has
demonstrated that hybrid propulsion systems and deep
research into features such as lighting and insulation can
significantly reduce power consumption. The design of
Ethereal was driven by research started with a series of
brainstorming sessions designed to penetrate the depth of
the subject matter. This resulted in the yacht being
designed so that fuel cell technology could be retrofitted.
Solar sensitive sail cloth was also identified as a future
technology that could be applied. Instead highly efficient
lithium ion phosphate batteries were used to power the
propulsion system and all the high demand hotel systems
including air conditioning, galley and laundry. She can
maintain 11knots for almost three hours using her
batteries alone. Operating in battery mode the emissions
and fuel consumption are reduced. The most significant
energy savings are achieved by reducing power
requirements in the hotel services on board. Particular
focus was on the energy consumption of the air
conditioning one of the biggest users on the yacht,
looking at ways of reducing heat especially heat
produced by the lighting system. There are over 300
lights in the accommodation; of the energy they
consume, conventional lighting technology converts 90%
of the energy into heat. Advanced LED technology was
developed to produce lighting which was highly efficient
producing very little heat. An innovative adaption of
refrigerated truck insulation to insulate the cabin reduced
the energy requirement even further. The application of
light-switchable glass to darken the hatch and skylight
glass on demand, keeps a significant amount of heat out
of the interior if sunlight levels are high. The overall
effect of improved insulation and heat reduction has
resulted in the need for much smaller generators, thereby
reducing emissions and fuel consumption [10].
1.4 LUXURY AND DOMOTICS
Domotics refers to the efficient integration of the
electrical equipment and systems in a boat such that they
provide optimum comfort, convenience, safety, security
and energy management [11]
Domotics involves the implementation of control
technology in a design to enhance the user experience
and/or sustainability of the vessel. It may include lighting
control, the control of heating ventilation and air
conditioning and security/surveillance systems, thermal
imaging for navigation and rescue, and changing the user
environment for different events.
CRN have introduced a new integrated entertainment,
information and home automation "myOlos" on two
maxi yachts of the CRN 43 line. The "myOlos" was
designed and developed for boats over 24 meters. The
partnership between CRN Videoworks and Intel
continues to invest in research and development to create
integrated systems with the goal of increasing usability
of audio-video and home automation. The system allows
the user to manage all of the instruments, onboard
entertainment and video surveillance through a single
device, with the aim of enhancing the user interaction
experience provided by the boat. Functionality enables
the user to check the safety of the boat, chat with friends,
watch a film or play video games, and broadcast music
across the boat.
Ease of use is ensured by a carefully designed graphic
interface. The wireless connection allows the owner to
move freely throughout the boat. A remote diagnostic
system allows secure entrance to the system through the
internet to allow rapid update to software or correct
malfunctions.
'"MyOlos" stems from the increasingly common need of
users, to manage their own boat in complete autonomy
while enjoying advanced multimedia entertainment
systems. Domotics, which is already a reality in many
design contexts, is becoming pivotal in the superyacht
industry; it constitutes a radical change in the meaning of
the product by enhancing the user interaction with the
environment. It is a strategic lever for the industry in
terms of luxification.
''The collaboration with CRN and Videoworks makes us
particularly proud, as allowed us to develop a system of
home automation and entertainment truly unique result of
a shared vision of excellence focused on innovation as
the only answer", said Frank Lombardi, Consumer and
SMB Channels Manager Intel Italy and Switzerland.
"This collaboration in integrating systems contributes to
evolve and innovate a very important industry such as
traditional luxury yacht", said Maurizio Minos, Director
Technical Videoworks [12].
1.5SUPERYACHT TECHNOLOGICAL INNOVATION
Over the last few years, most new superyacht builds
include transparency as a design feature; glass is used as
a component part of the structure, a technology transfer
from the automotive industry. There is an anticipation of
increased demand for frameless windows, to be glued
onto the superstructure [13].
In both hull and
superstructure, glass has become a creative element for
designers, with the objective of giving the
owner/guest/client a more direct experience of the sea, by
integrating the interior and exterior experience. The glass
walls on the superstructure of the Wallpower are an
example of a superstructure breaking the barrier between
interior and exterior [14]. Typical applications involve
large windows in the hull to provide illumination and
panoramic views.
A current trend in styling is the variable geometry yachts,
with the objective of bringing the user closer to nature in
a protected environment. These are domotic systems of
electrical or hydraulic platforms with electronic control,
which gracefully glide into position at the touch of a
button. For smaller vessels this may consist of extendable
bathing platforms, for superyachts it involves movable
terraces and platforms. These added living spaces are
appearing on both sailing and motor superyachts, the
‘wow factor’ ranges from pop-out terraces to the sundeck
converting to a helipad. For example, the Octopus
launched in 2003 by Lurssen, has five open-out terraces
on each side and a helipad that rises from the pool [15].
Large stern beach clubs can be constructed from several
platforms, and gull wing doors a feature from the
automotive industry, are a design feature that currently
facilitate the luxification process.
with the use of glass immersing the user in the
environment. This experience is reinforced by the use of
a retractable sunroof directly above the bridge, which is
shown the back ground of Figure 4. The sun loungers at
the aft of the main deck convert into a dining area
through the use of domotic systems, as shown in Figure 6
and Figure 7. This dual functionality of the aft deck
space combined with the interior design meaning,
constitute a technological epiphany facilitated by the
domotic system allowing the seating area to convert into
a dining area.
Figure 4: Superyacht side elevation view
Figure 5: Bridge and lounge interior view from aft deck
Figure 6: Sun lounging area on aft deck
3. LUXURY INFORMED DESIGN CONCEPTS
The design concepts presented in this paper are final year
projects of students on the undergraduate Boat Design
course who graduated in 2010. These design concepts
demonstrate a focus on design-driven innovation
informed by a significant body of design-driven and
technological research.
3.1
An Adaptive Exterior Space
The first design uses domotics to adapt the functionality
of an exterior space. This offers the vessel a more
minimalistic approach to interior design making it seem
more luxurious,. The new design meaning is the
association of luxury with space normally attributed to a
larger vessel size. The side profile of the vessel is shown
in Figure 4, the design language of the superstructure
emulates that of a much larger vessel. The minimalistic
spacious interior of the upper deck is shown in Figure 5,
Figure 7: Aft deck area demotically converted for dining
3.2
Modular Interchangeable Interior
The second design concept changed the meaning of what
a charter vessel could be. The exterior is shown in
Figure 8. By having a modular interchangeable interior
which is stored and transported in TEUs, it offers charter
clients the experience of a range of bespoke interiors.
This idea has the potential of developing a new product
family of superyachts, in a market sector between full
ownership and charter. It could be fractional ownership
with a bespoke interior fitted during use, or offer an
enhanced level of luxury through the charter client
selecting aspects of the interior for a given vessel.
In port, the front doors of the containers are opened and
secured in place, and the safety catch mechanism at the
front of the container is deactivated and the loading
mechanism activated. The container is then hoisted up by
a dock side crane where it is positioned into place by a
series of positioning lasers and electromagnets that have
been pre-built into the front of the container. Once in
place, the container is held steady by the previously
mentioned systems. The hydraulic loading mechanism is
then activated with the hydraulic arm extending into the
container and latching onto an attachment point at the
rear of the structural frame of the container. Once locked
into place the arm is then retracted and the container
pulled onto the vessel along the tracked system and
locating wheels that are attached to the bottom of the
rooms (Figure 9). Once aboard, the rooms are locked into
place using pneumatic locating pins and the individual
electronic systems and control boards are connected to
the rest of the vessel via the access hatches that are built
into the corner of each container room. Figure 10 shows
a sectional view of the vessel with the interior modules in
place. The use of the interior module boundaries as an
integral part of the design language can be seen in Figure
11.
Figure 8: Modular interior superyacht
Figure 11: Rendering of interior space
3.3
Structural Glass Immersive Experience
The third design shows a significant use of structural
glass in both the hull and superstructure. The result is an
immersion of the user in the marine environment with the
feel of a luxury hotel upon the water. The significant
amount of glass used in the exterior can be seen in Figure
12. The owner's suite in Figure 13 shows the light
penetrating through the sunroof and the continuous side
windows. To manage the transmission of light and
brightness of the room a domotic control system is
required to polarise the glass depending on brightness of
sunshine. The lounge bar area shown in Figure 14 shows
the interior lighting designed in sympathy with the large
exterior window areas. The design meaning is an
immersive experience of the marine environment. Again
the change of design meaning and domotics technology
constitute a technological epiphany.
Figure 12: Exterior with large areas of structural glass
Figure 9: Modular interior unloading from TEU
Figure 10: Sectional view of vessel showing interior
modules
The structured model of design-driven innovation
explained earlier in the paper is an industrial based
framework. Boat Design students evolve their design
practice and engagement with design-driven innovation
through a less structured action based learning approach.
As students develop within their community of practice
with automotive and product designers, their exposure to
potential design interpreters is significant due to the
diversity of design activity within the studio. Their
network of industry contacts developed during a sixmonth professional placement further enhances their
design insight and access to an experienced range of
interpreters.
Figure 13: Owner's suite with significant window areas
5.
CONCLUSIONS
Luxification and design-driven innovation are
inextricably linked, as the optimisation of technology
innovation and the new meaning associated with it
evolve the concept of luxury. The marine industry is
designing user experiences not just products, the
potential for transfer of innovation of design-driven
innovation from the product design industry to the boat
design industry is an ongoing process.
6.
Figure 14: Salon integrating large window areas
4.
DISCUSSION
While each design concept proposes a very different
solution to address user needs in terms of luxury, they
have all engaged in design-driven innovation. Domotics
and sustainability are becoming the new currency of
luxury in superyacht design as part of the luxification
process, establishing new meaning and experiences for
users. Design-Driven Innovation is about creating future
design scenarios and not just meeting current user needs.
To qualify the technological epiphany status of the
design concepts presented, a number of superyacht
design consultancies who work closely with Coventry
University were used to review the concepts. They were
impressed with the engagement in design-driven
innovation, and while they perceived the concepts to
constitute the definition of a technological epiphany, they
found it challenging to discriminate between the levels of
achievement of each concept. Thus, raising the issue of
applying an assessment criteria to design-driven
innovation in marine design, such as Alessi's "Formula
for success". The authors will be collaborating with the
EBDIG superyacht design network in future research to
elucidate an assessment criteria. This will be a
challenging research activity given the bespoke nature of
superyacht design.
ACKNOWLEDGEMENTS
The authors wish to thank the following Coventry
University Industrial Design graduates of Boat Design
who's final year projects constitute the design case
studies presented in this document: Timothy Thompson
(Modular Interchangeable Interior); Michael Kramer
(Structural Glass Immersive Experience); Matthew
Wilkinson (Adaptive Exterior Space).
7.
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