Design-Driven Innovation in Sailing Yacht Design
SUMMARY
Yacht design from an industrial design perspective, is about understanding the needs of the consumers. Designers must
examine the contemporary understanding of the term ‘luxury’ in design from the perspective of the consumer. There is
an increase in consumers wanting design functionality and usability as well as products that elicit other feelings such as
luxury and pleasure. Emotional design involves developing an understanding of consumer characteristics, expectations,
desires and needs, and translating them into sensitive and balanced design solutions. 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 a number of design case studies, which applied a methodology framework for emotional design,
to a 40ft sailing yacht for a range of European personas. Coventry University Industrial Design students carried out this
case study as part of EBDIG (European Boat Design Innovation Group) a European Union Leonardo funded research
project, with the objective of developing training material for the European marine industry. The design output presented,
demonstrates an emotional design framework, enabling luxury to be elucidated visually in a cultural context, as a tool to
inform the interior design process for a specific persona. The students explained the significance of colour and form,
and the rationale for the design detail. As case studies, these will help European design consultancies gain an
appreciation of the value of Emotional Design to the yacht industry.
1.
INTRODUCTION
Industrial design involves defining and capturing
opportunities that relate to the needs and desires of
consumers. It is achieved through the harmonious and
spirited integration of visual, functional and user
elements within manufactured forms or systems [1].
Designers must examine the contemporary understanding
of the term ‘luxury’ within the context of boat design. In
doing so, they research trends in interior and exterior
design aesthetics, to identify commonality and specifics
of design language. 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 produce a sense of luxury and pleasure.
Luxury is intrinsic to the leisure boat market.
With a shift in demographics, people are living longer
and expect a high quality of life regardless of age and/or
disability [2]. Taking this into account, boat designers
need to design for the consumer allowing improved
navigation, ease of use and attention to detail to ensure
prolonged use and enjoyment. Designers must also
appreciate the relevance of ‘emotional design’ [3] and
the concept of luxury. The emotional design approach
requires an understanding of user characteristics,
expectations; desires and needs translated through
sensitive and balanced design solutions. It recognises the
need to go beyond aesthetic, engineering and usability in
certain sectors, and understand emotional and functional
requirements. In their analysis, students must examine
how the concept of luxury informs the design process.
In terms of mass production and branding, luxury has to
be examined for a range of boat market sectors, from
mass production through semi-custom, to bespoke design
[5], to enable the designer to determine how
contemporary branding, allows this spectrum of
production levels to remain ‘luxurious’ to their respective
customers [6].
Motor yachts for example, are generally more
synonymous with luxury whereas sailing yachts are
perceived to be more utilitarian for the sport pleasure and
exhilaration of sailing. However, changes in the
operating costs of marine vessels in recent years,
combined with a shift away from conspicuous
consumption to environmental concern has had an impact
on the market. The owners of these vessels have
concerns about these significant issues. This ‘green
credibility’ is a tenet of luxification; the evolving nature
of luxury, that can be explored through design.
The design case studies presented here, consider the
value of an emotional design methodology to alter the
design meaning of a ‘sailing yacht’. The potential to
make it a more appealing vessel to aging users and to a
new market sector, who would not normally consider it a
luxury marine pass time due to the training required for
operation, is explored.
2.
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 recognised as more important [7].
Emotional bonding, symbolic representation, tribal
connections, subculture references, and so on all form
part of the language defining product personality and
product semantics [8]. People relate to products in
individual and interesting ways and 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, and 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 [9].
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 consumers themselves in
a variety of ways. For this interaction to be satisfying for
the consumer, 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 consumer
come into contact. If the consumer perceives a product is
not made for them, psychological barriers can develop
[10]. Fortunately, there is much to be learnt from
consumer-product relationships that are less than ideal.
Some products may be obviously gendered in a way that
connects with potential consumers, 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)[11]. 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 [11].
3. LUXURY AND DESIGN-DRIVEN INNOVATION
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 yachts represent the higher
echelons of luxury goods; they are synonymous with the
lifestyle of the rich, successful and famous. They are also
marketed as such, with brand association, new market
opportunities, such as fractional ownership and
chartering, opening 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.
Due to the evolving nature of consumers’ sense of luxury,
Danziger [6] proposed key strategic design opportunities
in today’s luxury marketplace. Namely that 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 upmarket by adding more luxury value. Boat Designers
must engage with the concept of luxury in order to
discover new and different ways to give expression to
consumers 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 [6].
Luxury has a transcendent quality related to a
consumer’s aspirations and dreams. It exists in the
fantasy (aspirational) 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 [6]. 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.
To facilitate luxification, boat designers should consider
implementing a design-driven innovation strategy as is
often employed within product design. Verganti [12]
reported two major findings relating to the strategy of
innovation management. Firstly, radical innovation is a
major source of long-term competitive advantage,
generally involving radical technological innovation.
Secondly, people do not buy products but meanings.
They buy into a lifestyle. People use products for
profound emotional, psychological, and socio-cultural
reasons as well as utilitarian ones. Analysts have shown
that every product and service as well as industrial
markets has a meaning. Boat designers and
manufacturers should therefore look beyond features,
functions and performance, and understand the meanings
consumers give to things. A common assumption is that
meanings are not a subject for innovation. Meanings
have intensively populated the literature on marketing
and branding. User-centred perspectives have provided
powerful methods for understanding how consumers
currently give meaning to existing things [13].
Innovation has focused on two strategies: (i) quantum
leaps in product performance enabled by breakthrough
technologies, and (ii) improved product solutions enabled
by better analysis of consumers’ needs. The former is the
domain of radical innovation of technology push, and the
latter of incremental innovation of market pull (see
Figure 1).
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 [12].
Luxury has a stronger association with motoryachts than
sailing yachts. The application of ‘design-driven’
innovation is about changing design meaning of a sailing
yacht from utilitarian to a luxury social environment
space, using the DNA of luxury European apartment and
domotic systems currently associated with luxury
apartments and superyachts.
‘Green envy’ [5] offers the most competitive of boat
owners a new edge over their rivals. The philosophy
behind green boat design is to give the owner the
opportunity of being more socially responsible, as luxury
boat owners are typically intelligent high net-worth
individuals who are aware of how they are perceived by
others. The added value of awards for environmental
efficiency in other leisure boat sectors, will translate into
the small vessel sector as governments begin to enforce
the regulations that have already been imposed on marine
sanctuaries around the world. On this basis, it is expected
that over the next few years yacht owners will begin to
compete on the basis of their environmental footprint.
This would make a sailing yacht a more desirable
alternative to a motoryacht. This would require an
extension to the living space and activities on a sailing
yacht to make it more comparable to the technology and
design refinement of a motor yacht.
Making the sailing yacht easier to operate for novices
and those with limited time, as time itself becomes a
luxury, is also necessary. This encompasses several
markets including active mature consumers, and a
younger consumer group with no direct interest in sailing,
but who have an appreciation of the luxury lifestyle and
would engage with a sailing yacht on the basis of green
envy and prestige.
4.
Figure 1: The strategy of design-driven innovation as the
radical change of meanings [12]
A third strategy is ‘design-driven innovation’, which
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. Design-driven innovation is at the heart of
numerous success stories of products and firms [14].
Alessi in 1993 proposed a radical new meaning for their
kitchenware developed through years of 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 METHODOLOGY
The initial design specification informs the hull and rig
configuration as part of the holistic design process for a
luxury 40ft sailing yacht for a specific market. Research
must then be carried out to identify the technical
requirements of the yacht, with bench marking of vessel
in the chosen market sector, and a task analysis of the
user. These activities inform the design process. A
specification for design requirements is refined from this
research.. Two design case studies are discussed in this
document, each with different personas and design
specifications. They are referred to as Case Study A and
Case Study B.
These design assignments were 12-week studio based
student project. The students were lectured on the
principles of hull design using the Delft model [15] to
evaluate hull drag, and Rhino marine to evaluate stability.
Using statistical data on hull parameters, students
developed their hull shapes as an iterative process,
evaluating the interior volume as part of the general
arrangement (GA) development, then evaluating the rig
and thereby developing sensitivity to the design
compromise between vessel performance and interior
design volume. The Hazen model [15] was used to
determine the driving and heel force from the rig. A
comparison of the vessel stationary and under way is
used to determine the importance of the keel design.
Then a User-Centred Design (UCD) approach to the
general arrangement of a 40ft sailing yacht was
introduced by discussing the activity specific to the
different areas of the vessel. The students carried out a
benchmarking activity of contemporary vessels to
ascertain typical general arrangement configurations,
level of interior trim and access to storage, as well as
typical navigational equipment. This was further
supported by product evaluations for reach and vision of
a range of vessels at the London Boat Show. Students
examined the relationship of the person within the vessel
space. Technology research was also carried out to help
inform the design innovation process
Students were introduced to persona templates and
developed three different personas. The user personas
were: elderly couple; middle-aged couple and son; young
and fashionable couple. The persona template consisted
of: name; age; other guests; location; skills/profession;
somatotype; medical conditions; interests and hobbies;
understanding of modern technology; weight; average
percentile; current yacht owned or chartered.
the interior spatially resolved to the interior volume, by
refining the design to fit the space. The ergonomics of
the interior and exterior were explored using a DHM
(Digital Human Modelling) ergonome and appropriate
design refinements were made.
5.
DESIGN OUTPUT
The design workflow involves the critical balance
between interior volume and the styling of the exterior
form. The resolve delivered a sensitive balance between
the two and integrated consumer needs through
storyboarding of specific consumer activities. The
development of spatial awareness is critical to achieve an
optimised solution. This was achieved through active
role-play as part of the benchmarking process, which
highlighted key areas in need of ergonomic resolve. The
use of a 1/20th scale foam card interior models we
reconstructed to resolve dimensional issues through the
use of a range of scale ergonomes.
This focused approach to contextual research indentified
electric motors and batteries as a potential green and low
noise solution to powering the yacht in low wind
condition and in harbours. Electronically tinted glass
would allow large glass areas to provide panoramic
views of the marine environment without increasing
demands on air conditioning system if fitted. The roleplaying and storyboards identified the need for certain
non-slip materials in key areas. Compared with
motoryachts, highlighted technology refinements are not
present and the key issue of available electrical power,
which offered the opportunity to use more efficient
electrical systems such as LED lighting.
From the persona templates a series of inspiration boards
and mood boards for both the client persona and the
concept of luxury. Sketching and rendering were then
used to communicate interior concept developments.
Three distinctive GAs were developed and discussed in a
design review with the best proposal being identified and
developed through design review dialogue with a
focussed consideration of the user personas.
Automated rigging systems such as the self-furling
variety, allowed the operational workload of the vessel to
be reduced opening sailing as an activity to the mature
couple personas that have reduced hand dexterity, and
the young couple who would be more confident in sailing
a vessel that is easier to use.
The students also generated storyboards of each persona
carrying out a range of typical daily tasks, which enabled
them to brainstorm and develop design innovations to
assist in the activities. This enabled the students to
identify opportunities for assistive technology to enhance
the final design outcome. Having developed an
understanding of the area specific activity. The students
then considered the personas in these activities through
storyboarding. Identifying opportunities for design
innovation through domotics to make the vessel more
luxurious.
For the first case study the following innovations were
developed through storyboarding, a delineation of each
will be given along with their respective persona:
The hull was designed using Freeship and the Delft
model used to determine the drag. An iterative design
cycle considered the stability of the hull (righting
moment and drag). The hull was imported into Alias and
5.1 DESIGN INNOVATION
 Bathing platform - allowing the transom to transform
into a bathing platform increases the outside space of
the yacht allowing it to be used in a similar way to a
motoryacht the feature association eluding to luxuryfashionable young couple want to be green but like the
feature of a motoryacht.
 Automated entrance door - using a key fob to control
the motorised sliding hatch and door increases the
security of the vessel and removes the physical effort
required to slide the hatch - old retired couple acts as
assistive technology and give them a greater sense of
security.
 Electronically tinting windows - reduces the amount
of UV and hence heating effect while allowing the user
to have panoramic views day or night- all users.
 Media centre - retractable plasma television and
sound system allows the users a unique interactive
control of lighting and multimedia system enhancing
the experience of the environment - mature couple
young fashionable couple.
 Fridge - domotic control system of retractable fridge
significantly enhances ergonomics and convenience of
access- older user ergonomic consideration.
 Automatic splash back - feature on sink activated by
turning on tap avoids water etc splashing over seating
domotically controlled - mature couple.
 Rotating helm wheel - opens up the wheelhouse as a
more usable space giving better access to the transom –
for all users.
Figure 1: Exterior form
 Electronic winches - minimised the physical effort
required to operate rigging, making the activity of
sailing considerable easier - older couple who has
restricted mobility and mature couple who like a more
relaxed engagement with the experience.
5.1
CASE STUDY A: EXTERIOR DESIGN
The exterior design has an elegant geometric form
(Figure 1) that has the design innovation of a large
amount of glass to enhance the interior view and natural
lighting.
Figure 2: Helm detail and the transom-bathing platform
The transom has a variable geometry normally found on
superyachts, converting into a bathing platform, with
steps down from the wheelhouse.
Figure 3: Stationary shade/ lighting feature
An innovative feature of the boom is a retractable
bimaini for use when the vessel is moored. This has
LEDs embedded in it to provide a mood setting lighting
illuminating the wheelhouse and bathing platform at
night. This adds to luxury by providing subtle
illumination through an architectural lighting feature,
which gives a sense of mood or atmosphere.
5.2
CASE STUDY A: INTERIOR DESIGN
Traditional interior colour themes tend to be cream and
dark wood. An evaluation of contemporary colour
schemes is shown in Figure 4. Bright colour high gloss
and colour contrast accentuate a sense of space. Colour
and trim are key drivers to effect user experience and are
strongly linked to user persona.
Figure 4: Interior colour themes of saloon and kitchen
Figure 5: Interior renderings
To give a sense of luxury the interior uses the contrast of
black leather with high gloss red and lighter colours. The
large amount of glass ensures a well-illuminated interior
compensating for the use of dark colours. High gloss
interior walls give it a sense of luxury. The domotic
systems adjust the height of the table using a control at
the side of the bench seat. When the tap is turned on, an
automatic clear plastic splash back moves up.
Figure 6: Domotic fridge
The fridge is built into the work surface. The domotic
control systems means that a touch sensor on top of the
fridge allows the fridge to rise, where a side door can be
opened. This use of domotics gives a sense of luxury due
to the improved ergonomics and enhanced users
interaction with the product. Typically a standard
refrigerator on a sailing yacht has a lid, which must be
removed, after which the user has to bend over and reach
inside to locate specific items. The reach and vision
requirements of the users in the domotically controlled
fridge increase the comfort of user operation and reduce
the reach and vision requirements needs to use it making
it an inclusive design.
5.3
CASE STUDY B: EXTERIOR DESIGN
pipe trim helps to accentuate the sense of space, while
the trim defines the boundaries of surfaces.
This exterior has a more flowing organic form in terms
of the coach roof, to achieve a similar interior volume as
the previous concept it has a higher shear line. The
exterior Computer Aided Design (CAD) render is shown
below in Figure 7.
Figure 7: Exterior CAD rendering
The cockpit is designed to be a large social space with a
central focal point. To facilitate this aft bedrooms are
coffin beds. There is also a small bathing platform within
the transom with seating to allow swimmers to socialise
with those sitting in the wheelhouse. A range of DHM
ergonomes where used to evaluate and optimise the
seating arrangement within the wheelhouse as shown in
Figure 8. This ergonomic resolve of space constitutes
luxury as the wheelhouse becomes a comfortable social
space with panoramic views when the vessel is stationary
rather than utilitarian seating for a sailing crew adapted
beyond its design function.
Figure 8: Ergonomic evaluation of cockpit
5.4
CASE STUDY B: INTERIOR DESIGN
This design has a minimalist contemporary interior with
the use of bright colours and white to give a sense of
space. Renders of the saloon are shown in Figure 9. The
comparison of colour theme shows purple to have a
greater sense of space. The use of white surfaces with
Figure 9: CAD renderings of interior (2 colour schemes)
6.
DISCUSSIONS
Both concepts engage in emotional design methodologies,
using different persona groups as the focus for the vessel
design. A UCD simulation approach supported an
emotional design simulation of the persona activities.
The use of CAD based ergonomes of different sizes to
resolve the ergonomics of key areas was a critical aspect
of the design workflow, given the challenges of resolving
interior detail on sailing vessels of this size.
Sailing yachts are more generally associated with
functionality. The application of ‘design-driven’
innovation shown was about changing design meaning of
a sailing yacht from utilitarian to a luxury social
environment space, using the DNA of luxury European
apartment and domotic systems currently associated with
luxury apartments and superyachts. This was achieved by
using visual cues from motoryachts and luxury
apartments. The idea being that the when not sailing the
user engages in social activities the make them feel that
they are in a luxurious environment due to the use of
luxury in the interior design. Combined with the level of
enhanced experience due to the innovative domotic
systems proposed.
The use of multiple personas, brainstorming and story
boarding help to develop a significant number of design
innovations this was contextualised by the benchmarking
and actual simulation of tasks in a real yacht. Domotics is
becoming a key driver of luxification in boat design,
radically enhancing how the user interacts with the
environment and hence the user experience.
Another radical change in design meaning is 'green envy'
having a luxurious social space, which is significantly
more environmentally friendly than a motoryacht. It also
makes sailing an activity more accessible to those of
reduced mobility as well as a new generation to whom
time is a luxury. An immersive experience of the marine
environment is offered, with assistive rig technology
making sailing a more achievable activity for the less
experienced.
While the case studies engaged in emotional design,
producing distinctively different design output. They
were persona based, the creation of these personas being
a very subjective process based on the students/designers
perceptions and life experience. A more detailed
development of personas from dialogue with real users
and marketing consultants would yield a more objective
persona development process. This would also capture
real user feedback of design concepts through dialogue,
which would quantify the effectiveness of the emotional
design methodology. This more sensitive and appropriate
approach will lead to more relevant design outcomes.
7.
ACKNOWLEDGEMENTS
The authors wish to thank the following Coventry
University Industrial Design undergraduate students of
Boat Design who's second year individual project
constitutes the design case study presented in this paper:
Michael Bryden and Marco de Jesus.
9.
1.
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CONCLUSIONS
Design-Driven Innovation and Emotional Design have
the potential to change the design meaning of what a
sailing yacht is, and how the user interacts with the
product. Here it is presented as a personal living space to
enjoy the marine environment when the vessel is
stationary, as well as through the exhilaration of sailing.
The approach to exterior and interior design process
represents a diversity that appeals to different ranges of
users and personas. Design is about generating positive
experiences for the consumer. With a luxury product
such as a sailing yacht, the holistic blend of functionality
and supra-functionality (emotional needs) becomes
critical.
8.
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