Trans RINA, Vol 154, Part Cl, Intl J Marine Design, Jan - Jun 2012 PRACTICAL SMALL CRAFT DESIGN: COMBID ING ART WITH SCIENCE A Nazaroy, Albatross Marine Design, Thailand (DOI No: 10,3940/rina.ijmd,2012.c1.13) SUMMARY This paper presents a retrospective of problems involved in small craft design and styling, following design philosophy and solutions from a practicing boat design office. The approach to design as ‘solution of particular task’ is presented. Design is studied as compromise of five qualities: aesthetics, comfort, performance, safety and cost. Contemporary trends in boat styling are analyzed, architectural types of boats and yachts are defined, Influence of rules of classification societies and standards on design is discussed. Comparison of safety and comfort considerations and their effect on design are presented for two boats of similar size. Sample designs are presented as illustrations covering pleasure, small ‘commercial and special craft “Weis fairly easy to discover just what a man admires and loves, for to ask him is to know; but to understand the Ocean's likes and dislikes is far harder’ Uff Fox ‘Sailing, Seamanship and yacht Construction’, 1936. 1 INTRODUCTION 2. THE DESIGN PROCESS Growing competition on small craft market stimulates 2.1. SPECIALIST ROLES IN YACHT AND BOAT development of new boat models. Every year designers create thousands of innovative and break-through concepts; but only a small percent of them develop into reality and only few of them become successful boat models, Thirty ycars ago boats were designed solely by specialized boat designers or naval architects. But during. recent years there is a strong ‘invasion’ of industrial designers into pleasure craft design, supported by case of creating shapes and presentation images with use of software, This tend definitely encourages new approaches and brings fresh thought into conservative trade, but on the other side such cooperation with non- marine designers requires proper teamwork and their ability to understand basic boat design limitations and principles. Unfortunately, sometimes newcomers in marine design do not sec the whole scope of problems involved and are creating appearance beyond the practicality. Being fixed in a customers’ mind some ideas are then strongly pushed and transferred into engineering and production, and often end up unpractical and unsafe when it comes to areal craf. ‘The present paper is intended to support non-marine designers making attempts in boat design as a systematized review of major problems involved in combining aesthetical features with functionality of small pleasure craft, It can also be useful for boat design professionals for better understanding challenges of multi-disciplinary cooperation and checkpoints during the design process. ©2012: The Royal Institution of Naval Architects DESIGN In today's boat design there is more and more specialization that requires involvement of different specialists (or a combination of those skills in one individual). There are several types of professionals involved in yacht design, so it is important to distinguish their areas of expertise and responsibility Boat designer is the general name for # specialist involved in aesthetical and/or engineering aspects of boat design; this name might or might not be associated with any special degree or training. Sulit is a specialist involved in the development of appearance - aesthetical features of exterior and interior, to some extent also in claborating the concept and ergonomics; he answers the question “how the object, looks’ Stylist also often creates a ‘lifestyle’ as part of boat use concept. Naval architect is a specialist with degree in naval architecture possessing qualification for design, engineering and certification of boats; answers the questions *how the object looks’, “how it works’ and “how to manufacture it. Despite during last decades the profession of naval architect has become mote about engineering, we would draw more attention to the word ‘architect’ that indicates its creative component. Marine engineer is general term for a specialist with degree in mechanical/electrical engineering involved in design of machinery, systems and equipment. Interior designer is a specialist developing aesthetical and technical solutions for interior environment. Unlike the stylist, interior designer is also responsible for 43Trans RINA, Vol 154, Part Cl, Intl J Marine Design, Jan - Jun 2012 development of furniture construction drawings and details, interior lighting and comfort assessment, and is capable to work within technical requirements and weight constraints Marine designer is @ new speciality relatively often associated with training in “transport design’ with bias to marine transport in some universities. The taining includes naval architecture basics with a major emphasis on the aesthetical aspects of marine design. Other specialists involved in the aesthetical aspects of development of boats and yachts are visualization artist — for presentation renderings and graphics; graphic designer - responsible for decals, logos, advertisement ‘materials, etc. and some others Such a complexity of roles might make the design process complicated without clear responsibility for the entire design from any of parties involved. Efficient coordination of efforts of parties involved is usually under the responsibility of design management. 2.2 DESIGN DEVELOPMENT STAGES Below is presented the design process based on our office practice, At pre-design study stage the concept of the craft is discussed, preliminary estimates are made and visual identity of the craft is created by making ‘napkin sketches’. At this stage the designer and customer look into customer's preferences and intended use of the boat, expected budget, etc. and prepare a feasible statement of requirements ‘The purpose of concept design is to define how the boat would look and to prove that boat design is feasible. In ‘our practice, concept design includes exterior and interior renderings of the boat, general arrangement drawings, lines plan, weights study, performance estimate and stability check. Other items can be added such as preliminary list of equipment (usually originating from previous designs of similar size), material quantity estimates, ete, Concept design is important and often is & time consuming stage as it involves intensive interaction with the customer is terms of appearance and design parameters, and thorough cooperation of design team members. Concept design is the one used by the customer to get preliminary quotations from builders. Technical design is targeted at finalizing design decisions and integrating different parts of the design; it covers engineering of structures, plumbing and’ electrical systems, selection of equipment, detailed calculations of weights, stability assessment, performance, etc. General arrangement is being refined. At this stage the interior design is also produced including detailed interior renderings, fumiture drawings, room plans and interior ‘materials/equipment specifications. cd Figure | ~ Design development stages for H60 power catamaran yacht Boat is designed for long range cruising and life on board in tropics. Certification — CE/ISO to category AJB, Main particulars: length of hull ~ 18.2m; length overall ~ 19.2m, beam ~ 8.1m; draft fully loaded — 1.05m; displacement ~ 25/37, engines ~ 2xSO0HP; see also [1] ©2012: The Royal Institution of Naval ArchitectsMarine Design, 14-15 September 2011, Coventry University, UK Technical design is used for design approval by classification bodies. Figure 2 ~ Design development stages for PM1800 passenger catamaran Designed for costal passenger transportation in compliance to HSC Code, Main particulars: length ‘of hull — 18.0m; beam ~ 6.1m; draft fully loaded — 1.20m; displacement ~ 16/25t; engines ~ 2x510HP; passenger capacity ~ 70; see also [1] Construction drawings stage is targeted at assisting the construction and includes development of cutting files, lofting, assembling diagrams, templates, details requested by yard and clarifications in equipment specification. In our practice some construction drawings are developed together with the technical design, and ©2012: The Royal Institution of Naval Architects some are developed during construction and often associated with construction supervision Design development does not end on delivery of the design set to the customer; it continues during development of prototype or during construction of a ‘custom boat or after tests. Protoryping and modeling is an important stage especially for unconventional eraft or accommodation details. For certain types of unusual eraft we would start with radio controlled models to study its behavior and then moving to a full-size prototype with necessary modifications. This work is usually performed on completion ofthe concept design. For small craft interior design, cockpit, console and other details only 70-80% can be done ‘on drawing board’; the rest are adjustments done on interior mock-up or prototype where SOmm can make a big difference for comfortable foot space, rounded comer or step height. This work is carried in parallel with construction of plugs for production boats, fr on completion of the hull for custom projects where full-size mockup is made and verified giving @ real feeling of space to both designer and customer. Construction supervision is essential for the builder and customer, it reduces amount of re-work and allows to control undesired ‘simplifications’ during construction that can damage appearance or other qualities. Contemporary communication aids make it possible with, remote supervision as well as communication of design ‘cam members sometimes staying in different parts of the world. 3. DESIGN AS COMPROMISE OF QUALITIES Design is not just a pretty makeover but the solution of a particular task. For boats, design is « combination of five basic controversial properties: ‘Aesthetics — visual appeal of craft; Comfort - sense of physical or psychological . Performance - combination of speed, controllability, sea keeping, functionality; . Safety — protection of craft and people against ‘arm events; © Cost economics of construction, operation, ‘maintenance and resale. Successful design is @ successful combination of those, with given priorities for each. Say, for a houseboat performance is likely to be of much less importance than comfort; for an occan cruiser safety is more vital than aesthetics. Thus an evaluation of design cannot be done in the abstract from particular statement of requirements, ‘We will look at factors of safety, comfort and aesthetics directly affecting general design and styling, starting casTrans RINA, Vol 154, Part Cl, Intl J Marine Design, Jan - Jun 2012 from ‘more technical’ factors and then moving to their impact on aesthetics and looking at some design samples. 4. SAFETY Safety is a complex category of protection of craft and people against harmful events. Being on a boat, people are exposed to weather elements, depend on possible technical failures and effect of human factors, We can subdivide safety issues related to boat design and operation into normative - regulated by rules and standards; not regulated but based on operation experience and design practices; associated with other activities on boat not directly related to use of boats In today’s world boat safety is assessed using standards and regulations covering major aspects of design from general safety, strength and stability to systems and equipment. All standards applicable for boats can be categorized in following groups: International standards (IMO, ISO) National standards (GOST-R, CFR, ete.) Rules of classification societies (LR, GL, DNV, BV, RMRS, NK, RINA, ABS, CCS ete.) ‘© Rules of associations and organizations (ABYC, ORC, etc.) + Local regulations, ete. For small pleasure craft primary regulations are Recreational Craft Directive and ISO Small Craft group of standards that are applied for boats in the range of hull lengths Ly=2.5..24m and compulsory for all pleasure craft sold in European Union. According to these regulations boats are assigned with one of four categories: A ~ ocean; B- ofishore; C- inshore and D ~ sheltered. Not mandatory in other parts of the world these rules are widely used in many countries as design {guidelines or for alternative centficatio, ‘Summary of safety factors to some extent related to boat aesthetics, general design and layout planning are presented in Table 1 It is common to under-evaluate the impact of styling on the boat certification process. For example, a wide open {ransom on open powerboat might look altractive but ‘would involve special measures to comply with down flooding height and emergency flotation requirements. In four practice the profile of boat is drawn over a scheme representing dimensional and volume limitations imposed by regulations (see fig.3). Of course (and fortunately) not all elements of a design can be regulated by standards, and a design developed in full compliance with standards can experience some problems in operation, So practical considerations based ‘on experience and predictions of possible operational scenarios are of great importance. C46 Greater part of recreational boating accidents (over 80%) happen due to human factors (2) with major reasons being collision with other boats and floating objects (68% of total). According to accident reports, two major reasons of accidents are operator inattention and improper lookout. Figure 3 ~ Safety requirements for 7.2m powerboat 2) freeboard and cockpit: F — freeboard; F-Ly/(10...24) depending on category; S — height of selfdraining cockpit $=50...200mm; C — door coaming height; C=50...300 mm depending on category and type of craft; b) visibility requirements So, at first glance accidents are not much effected by design factors; but there is no doubt that designers can, further improve safety even beyond the official scope of regulations. It is difficult to quantify the effect of different design factors on lookout and attention of a driver, but there are certain ways to improve it: ‘+ Proper visibility from steering stations with special attention to blind sectors and avoiding reflections; ‘© Planning of functional zones of the driver and passengers, avoiding crowding of people in front of driver, te '* Adequate interior and exterior lighting on the boat ‘with respect to steering station; ‘* Appropriate ergonomics of the driver's seat, comfortable steering and engine controls; * Avoiding excessive wetness of the craft; Advanced boat control systems such as joystick ‘control, thrusters, pod drives, ete. ‘© Proper navigation equipment and its arrangement on. craft; ‘+ Proper navigation lights, searchlights, ete. ©2012: The Royal Institution of Naval ArchitectsMarine Design, 14-15 September 2011, Coventry University, UK As one can see, only such factors as visibility (though not completely) and navigation lights are regulated while others being the matter of designers’ experience. Such a simple solution as placing easily accessible drawer-style fridge under driver's seat will avoid the situation of driver's inattention when he bends down to get a drink, Safety is also related to other activities associated with boating, but not with the boat itself — boat lifting and storage, swimming, using tenders and water toys, boarding, using fishing gear, cooking on board, ‘maintenance, etc. ~ those are not regulated by standards but designers have to consider them during the design process, Thus designers’ success in developing small pleasure craft is closely associated with knowledge of regulations, but also with personal experience with boats and ability to perform detailed analysis of boat operation. 5. COMFORT Comfort is subdivided into psychological and. physiological. Psychological factors are quite subjective and provided by rational planning of space, general feeling of the boat's safety, reliable equipment, pleasant crew, familiar activity and environment and many other sensitive matters. Though @ skilled designer can treat them based on his experience those are not easy to quantify. Physiological factors of comfort are ‘measurable; they are related to psychological conditions ‘of people on board and are subject to assessment: Noise Lighting Climate Accelerations ‘Accommodation ‘Those factors are discussed in detail by the author in [3] Comfort requirements are specified in comfort class rules of classification societies such as Det Norske Veritas (DNV), Lloyds Register (LR), American Bureau of Shipping (ABS), ete; some factors are included in international standards such as ISO or IMO, also in national sanitary regulations or directly specified in customers” requirements. Officially a ‘comfort class’ is issued for luxury yachts or passenger craft, but many of comfort class requirements are worth considering on smaller boats. Unfortunately, from a customers’ point of view comfort is oflen mistaken with interior design that means how soft the cushions are and how big is mirror in bathroom; later on, a ‘light and sporty boat’ tums out uncomfortable in terms of air conditioning or sound privacy. In this respect all comfort noted above should be considered at initial design stages and not on a residual basis. ©2012: The Royal Institution of Naval Architects 5.1 NOISE Noise is one of widespread reasons of discomfort on boats; scope of requirements is summarized in Table 2 where lower numbers are recommended and higher numbers are acceptable (but not always practically achievable on small boats), There are two major factors to consider: + General noise reduction; © Sound privacy General noise reduction is targeted to avoiding hearing damage, ensure intelligible communication and ability 10 hear alarms, casy communication and intense levels of concentration, guarantee recreation through sleep. AS an example, for luxury yachts a level of sound of 20dBA allows classical music listening. For the ability to sleep the sound level should not exceed 604BA that is generally acceptable for crew compartments on commercial craft and cabins on small boats. Noise level of less than 80dBA allows verbal communication. For noise of more than 85... 1004BA one should use headset to protect from hearing injury [4] Being on a boat people are confined to a rather tight environment, so the ability to have some privacy is very important. Sound privacy is estimated using sound transmission class (STC) indicating how many decibels of sound are reduced between neighboring compartments and usually achieved with proper sound insulation of accommodation bulkheads, doors, ele, and layout planning. More insulation usually means thicker bulkheads that should not be overseen at the concept development stage. Recommended design measures for noise reduction related to general design and styling are the following: ‘© Selection of low-noise machinery and equipment and its correct installation apart from inhabitable spaces. '* Sound insulation and absorption, sound insulation covers for some equipment, carpets and soft panels in interior or sandwiches structures. '* Avoiding possible ways of sound distribution by rational arrangement of outlets, openings and ducts, ‘out of public areas ‘Air conditioners and generators are primary sources of noise on most of yachts al rest. Unfortunately, light ‘materials are not too efficient for sound insulation though the use of heavy materials on a performance boat is limited, 52 CLIMATE ‘The feeling of climate is rather individual and depends ‘on physical conditions, types of activity, clothing, ete. but there are some general rules. Climate requirements ‘on boats are provided by air-conditioning and heating carTrans RINA, Vol 154, Part Cl, Intl J Marine Design, Jan - Jun 2012 systems, ventilation system, and thermal insulation and are closely related with exterior and interior styling features. Say, adding a big sunroof and windows in saloon or dark color of hull is likely to require a more powerful air conditioning system. In tropics, it is important to avoid direct sunlight in the saloon through sharply sloped windows, 53 LIGHTING Lighting is rated for comfort-class (Table 2) and subdivided into natural (portholes and windows of a safe size and thickness) and artificial - mainly electrical (provided by marine grade fixtures with appropriate level of protection). Types of lighting include: General lighting - general illumination of an area Accent lighting — mostly decorative, example: underwater lights, pathway/stair lighting, exterior decorative lighting of boat, ete ‘© Task lighting — functional and concentrated for special tasks, such as reading navigation charts, dinette, spreader lights, ete. The problem with lighting on boats is that lower decks normally do not have enough window area for sufficient natural light; installation of such windows would be a compromise with safety and practicality. Most of Iuxury boats possess several sophisticated lighting systems for possible situations (refer to fig.8) system of general lights, lights over dining area, low intensity lights. for. watching TV, stairway/passageway/floor lights, night lighting option if steering station is located in saloon, plus emergency lights showing exits; also underwater lights and exterior decoration lights. Lights should be adjustable to suit psychological moods; interior finish and color have decisive effect on compartment lighting effects. 54 ACCELERATIONS ‘A. boat's accelerations may cause seasickness, also known as ‘motion sickness’: giddiness, vomiting, reduced ability to work, fatigue, Motion effects may be divided into: ‘© Low-frequency motions — ive, heave, roll and pitch ‘on the seaway for displacement boats underway and all boats at rest; this causes motion sickness incidence (MSI); This type of accelerations is usually characterized as shown in the diagram superimposed with boats motions particulars. + Medium frequency motions (planing powerboats underway); for most people this isn't a cause for seasickness, but it can cause motion induced fatigue (MIF). Another phenomenon is motion-induced interruptions (MII) ~ these are situations where one has to stop activity to hold himself, measured in number of cases per minute. Generally MII=I is C48. considered the upper comfortable limit for most of boats, MII0.25 being the luxury limit, ‘© High-frequency motions (vibration of boat structures) that can cause whole body vibration (WY). ‘The effects of motions could be reduced by intelligent operation (selection of course, anchorage, speed, etc.), and also at the design stage. The key issue to provide accommodation comfort at high and medium frequency range at the design stage is proper boat sizing depending. ‘on anticipated sea condition and speed expectations. The author [1] has presented a graph for comfortable weight displacement of passenger catamarans depending on sea, state and service speed. Another important feature is keeping the passenger compartments and saloon close to the center of motions ~ amidships or aft of center. Other factors of motions reduction are related to the hull design (stability parameters, hull shape, deadrise, etc.), use of shock-absorbing seats, body supports, etc. on planing boats, application of active and passive roll stabilizers for displacement craft, etc. TThe designer should separate crew (or experienced boat owners) and passengers of luxury yachts as they have different level of tolerance to motions. Analysis of accelerations at the design stage is important but unfortunately is often treated as a secondary issue for small cra 3.8 ACCOMMODATION Discussing accommodation, two points are important ‘+ Rational layout planning considering functional zones of erew and passengers and for different types of activity; © Ergonomics — suitable dimensioning of livingiworking environment (furniture, controls, passageways, etc.) It should be underlined that design of practical and feasible accommodations is a matter of art and experience in boat space planning, and also requires practical knowledge of boat operation. The smaller the boat the more complicated and challenging is accommodation design duc to limited space. Unfortunately, today’s market is moving towards quantity instead of quality — number of cabins, bathrooms instead of their size and functionality. Say, ‘often from the boat buyer's view a boat with 2 cabins looks less attractive compared to the same length 3-cabin competitor, but rarely attention is paid to the fact that an extra cabin is just a ‘storage’ bunk under cockpit sole, with other cabins just being smaller. Special attention should be paid to deck ergonomics for easy boarding, work, easy access to mooring equipment and general fecling of safety - these can't be designed ©2012: The Royal Institution of Naval ArchitectsMarine Design, 14-15 September 2011, Coventry University, UK without respect to centuries of art of naval architecture and seagoing experience. Accommodations are also affected by cultural differences in different countries. 6. AESTHETICS OF SMALL CRAFT Aesthetics in boat design is a category of emotional comprehension applied to appearance of a utilitarian object — a boat in general or its particular details Judgment of aesthetics can hardly be formalized; it is variational and is based on psychological and cultural factors General aesthetics of boat can be characterized by: ‘* Style - visual appearance that relates boat to certain period, school, location, shapes, ete.; © Architectural type ~ a collective set of boat Features describing its layout and functions. ‘© Proportions ~ relations between elements and the whole of design such as visual masses and dimensions. Other factors affecting the appearance are decor as a combination of objects and fashion pieces used to improve the aesthetical appeal; color and graphics, surface finishing contributing to the appearance and the feeling of quality, ete, ‘We can define three levels of comprehension of boat and yacht ‘+ Distant — comprehension at a distance greater than boat length, ic. looking from shore, This type is mostly characterized by the silhouette of craft defining main proportions in almost parallel projection. ‘+ Close ~ comprehension of shapes at close distance (ay, from dock in marina) where pleasance and quality of surfaces and smoothness of lines are evaluated from different viewpoints with a strong perspective. + Detailed — shape details of fillets, protrusions, coamings, integration of elements and such details as, ladders, swimming platforms, rubrails, integration of deck equipment into craft shapes, surface finish, etc. ‘This is also level comprehension for small craft interiors. Levels of comprehensions require different attitudes to design of aesthetical features. The silhouette might look ‘great but the surfaces could be boring and flat in closer view. The silhouette is easy to compose and evaluate on paper; for close range level one needs to apply 3D modeling or physical scale or full-size models. Even 3D. modeling won't solve the problem as human comprehension of small objects on a computer screen and full-size objects on real boats are different. Here some designer tricks are used obtained through the experience of building and watching their creations; one of those is to give some slight curvature and softness 10 all lines and surfaces even if those should look straight from original design idea, ‘Another important factor for the designer is to imagine how surfaces would look once built and after use. Boats tend to experience some deformations and buckling caused by sea loads and mooring, welding stress and laminate stress, eycled thermal shrinking and expansion caused by heating of exterior surfaces, ete, All these factors would cause some surface defects that would be clearly visible at close range especially on dark hulls and flat surfaces. So general advice is to avoid big flat surfaces that will potentially decrease the appearance; decorative chines and corrugations could be used to split such surfaces. 61 STYLES ‘There are plenty of styles and fashions in boat design so all-embracing classification and description of those would hardly be possible. But generally, we can distinguish three main trends in today’s boat styling, Classic trend gives preference to traditional shapes and solutions of the past 30...50 years; these could be boats built to old designs (including so-called ‘replicas") or new designs that use classic elements. One of the great advantages of classic-styled boats is that they never get ‘out of fashion and have higher resale value on secondary market compared to break-through contemporary ones, Another advantage of classics could be a better use of areas due to more ‘square’ shapes. Figure 4 ~ Styles of boats: classic, contemporary, practical ©2012: The Royal Institution of Naval Architects C49Trans RINA, Vol 154, Part Cl, Intl J Marine Design, Jan - Jun 2012 Figure 5 ~ Widespread architectural types of pleast ‘2 aft cockpit sailboat; b ~ central cockpit sailboat; ¢~ open bridgedeck sailing catamaran; d ~ bridge cabin sailing cetamaran; ~ pontoon boat; f— RIBs; g ~ cuddy eabin; h ~ bowrider; i— central console; j ~ walkaround; k ~ express cruiser: | hardtop cruiser; m - pilothouse eruiser; n trawler yacht; © ~ cruising power catamaran with flybridge; p sporteruiser motoryacht; Contemporary style trend is associated with innovative features and search of new solutions in exterior by the designer/stylist, The features of this trend often are streamlined ‘sporty’ or modern minimalist shapes. These boats are marketed and sold as new developments and comprise @ major fraction of mainstream mass- production boats, Practical trend gives preference to functional features. These craft are designed according to the principle “shape follows function’ and with the operation-oriented approach. This style is highly appreciated by_uscrs ‘operating boats in severe conditions ~ northern Europe and America and by those who tend to spend more time out of marina, Practical style is also a feature of ‘workboats and special erat Of course, there is no clear division between those three categories and there are certain mixtures, If we look at sales statistics, contemporary styled boats are mostly “first boats’ sold to novice users; “second boat’ users tend. 50 to drift close to practical style, classic style is mostly appreciated by niche buyers. 6.2 ARCHITECTURAL TYPES Most boats can be assigned with one of the existing architectural types that enable easy description of eraft. So referring a craft as ‘offshore planing powerboat with walk around deck and forward cabin’ one can clearly imagine the main features of a vessel so described without seeing the details of its shapes. Principally new architectural types of craft do merge, but only very few of them become accepted and widely used. Formula of craft description covering an architectural type can be written as follows: area of navigation - intended use ~ speed range - hull type ~ deck type — additional features. Historically, local conditions of operation and. construction led to settling certain local architectural types of boats that become popular in some parts of the ©2012: The Royal Institution of Naval ArchitectsMarine Design, 14-15 September 2011, Coventry University, UK Figure 6 ~ Hull shape basics and deck design checkpoints a~ concave sheerline; b — convex; ¢- straight; d ~ S-shaped; e, f stepped sheerlines; g ~ classic transor ~ reverse ‘ransom; i~ cruiser stern; j~ submerged transom; k, | - stems of outboard and stendrive powered boats; m- swimming platform with lifting platform: n — curved bow; o — reverse bow; p — canoe bow: q clipper bow; r- sloped bow, s— straight; t— pram bow world. These types are very steady and even conservative when it comes to fishing vessels, workboats and specific local craft, Certain type trends are also evident among. pleasure boats though this market is much globalized now. Studying traditional styles of boats and local operations is essential for better understanding of developing boating markets and new boating grounds, For pleasure powerboats, an excellent general review of architectural types is presented by Sorensen in [6]. We tried to summarize some architectural types on fig.5 for powerboats and sailboats over 6m in length; this categorization is in no way all-inclusive but at least ‘covers a major part of production craft On one side, assigning a new design with an existing architectural type might seem to limit innovation and creativity. On other side, this approach allows proven solutions of known problems (including performance and safety issues), matching expectations of customers related to familiarity with these types, easy comparison to competitors and defining of market niches. ©2012: The Royal Institution of Naval Architects 63 BASICS OF SMALL CRAFT ARCHITECTURE, Centuries of naval architecture have formed certain canons related to shapes and proportions of boat hulls [7, 8]. Types of bow shapes, stem shapes and sheerline shapes are presented on fig.6. Following the canons to some extent guarantees seakeeping properties and functionally features. Developing principally new shapes is possible but should be combined with analysis of ‘operation and testing. For example, a reverse bow is getting popularity on small boats but besides fashionable aesthetics it can be hardly justified on most of small boats due to increased wetness, complications with anchor equipment installation, boarding, te. There is variety of cabin shapes on used on boats. ‘Though it looks unusual for car stylists, reverse slope of wheelhouse windscreen (see fig-4e) (originating from ‘commercial craft) is highly appreciated by boat operators as it provides absence of reflection and easy removal of water drops. Some considerations of deck architecture are presented on fig.6 for 9m trairable powerboat. CsTrans RINA, Vol 154, Part Cl, Intl J Marine Design, Jan - Jun 2012 Figure 7 ~ Layout development stages for 38" sailing catamaran 7. LAYOUT PLANNING AND INTERIOR, DESIGN ‘The design of exterior is usually run parallel with boat's, layout planning thus the exterior styling process and the development of general arrangement drawings are inter- related. In our practice preliminary 3D model of a craft is, created and is used to fit desired layout by hand sketching (fig.7). On results of this process the exterior 3D is updated and further interior modeling is repeated in CAD, Unfortunately some concept sketches by beginner designers often provide no real space for the engine or fuel tanks, so those have to be modified significantly and the desired appearance or layout could be lost. There are ew checkpoints to remember. * Collision bulkhead — usually installed within 5...10% of length from front end of the waterline; although not required by ISO standards (but required by other rules) itis good practice to provide such. ‘© Regulations for high speed craft define a forward area that is likely to suffer in case of collision, and most regulations do not allow passenger or erew compartments there. ‘© Engine room length /y,, m at preliminary design stages can be estimated using formula (valid for single and twin installations) Igy = 0.072, (P, 12)" whete fag — coefficient of engine room length 52 depending on engine length; for system with propeller shafts kiy-1.8..2.0; for jet drives gp-2.2.2.6; for surface drives, pod drives and stern drives kyy-I.3...1.7; Pr — total installed horsepower, hyp.; z—mumber of engines. ‘+ Engine room not just used to fit engines, but also generator, elements of air-conditioning system, water maker, etc. and thus needs decent space for installation and service access ‘+ Space required for fuel tanks is defined from the required capacity of fuel; taking capacity with volume utilization coefficient kj=0.85 for integral tanks and ky =0.6 for builtin bottom tanks. Capacity of fuel is estimated using customer's requirements or ‘parent’ craft; for planing powerboats can be taken @...3)Lihp. of installed horsepower. ‘+ Consider hull shapes when drawing the floor plans, as hull sides are not vertical but have some flare, In addition, allow thickness of structure including stiffeners. This is a common problem with ‘land based’ interior designers touching small boats. © Accommodation planning is done using accommodation criteria, schemes and consideration presented in previous chapters Detailed procedures for boat interior design are presented in a number of sources; excellent guidelines for boat interior design and styling are provided in [5] In our practice, interior design for a boat includes styling, plans and elevations for every room, drawings of fumiture and imerior details, selection of interior materials and fittings, weight estimates of interior ©2012: The Royal Institution of Naval ArchitectsMarine Design, 14-15 September 2011, Coventry University, UK Figure 8 ~ Sample of interior design presentation for 13.5m aluminum powerboat equipment and finishing, cost evaluation. Sample of interior design presentation are shown on fig 8 & DESIGN OF DETAILS ‘There are custom details developed by boat designers and standard/semi-custom/custom items usually originating from equipment suppliers, Designing custom equipment is possible though it is not a budgetary solution for most of small craft projects. Consideration should be given to following items: © Arches, masts ‘+ Windows ~ glued, framed, sliding; © Port lights; © Hatches — framed, fush, sunroofs; ‘© Tents - T-tops, Bimini-tops; ‘+ Ladders ~ swimming, fly-bridge, ete. © Doors - hinged, sliding, pantograph, garage doors; ©2012: The Royal Institution of Naval Architects ‘© Lifelines, handrails and pulpits; ‘© Stem platforms - fixed, lifting; * Cleats ~ fixed, folding; ‘© Capstans, anchors, winches, rollers; ‘© Fishing rod holders ~ sockets, rail-mount, ‘rocket launchers’; © Cranes, davits; + Placement of tenders, jet-ski, kayaks, ote The design of details is closely related to equipment available on the market. Work with equipment catalogues, visiting boat shows and equipment exhibitions, as well as other events in related industries sive the necessary ‘knowledge base’ for exterior details and an experienced designer can often propose suitable solutions, At the design stage it is important to consider possible later additions such as tents, fender storage, etc. 53Trans RINA, Vol 154, Part Cl, Intl J Marine Design, Jan - Jun 2012 Sometimes designers tend to skip them ‘for better appearance’ but those might be essential for functionality, Boat builders or owners might fit them at further stages significantly damaging the appearance of craft. 9. INTERACTION BETWEEN DESIGNER AND CUSTOMER ‘Some notes should be made about interaction with the customer during styling and concept design stage. In our practice, styling, naval architecture and engineering is done by one team where the team members are used to listen each other and work in tight cooperation from first sketch tll launching. With some projects @ customer will get ‘concept’ pictures of appearance from stylistdesigner, and would look for a naval architect to make it work. Its difficult to take such commissions as a wide range of specialists should be involved from the carly stages thus avoiding problems often inherited from a stylist’s technical ignorance. We found that the best result is always achieved where the designer is given freedom in design by only specifying operational requirements, general directions on styling and an indication project budget. Situations where the customer is telling ‘lift chine at bow by Omi are always undesirable; common attitude is that a designer is hired to do his job based on his expertise and not (© be a customer’s draftsman, On other side, the design is not a matter of designer's self-expression and experiment for customer's money, but @ solution of customer's task ‘An important stage for the designer involved in custom design for particular private customer is to study his tastes — it would be helpful to look at his house and office, find out the model of car(s) he is driving, style of his clothing, the cultural environment and typical boat use in his location, previous experience with boats, ete ‘The customer's family is often involved in making decisions thus those should be studied too. In our experience, at this stage the designer should become to some extent a friend of the customer to deliver the best possible result by knowing his personality Of course, influence of customers on design decisions is vital but customers’ trust in designer's experience and taste is important, so designer will have the authority to push the design process to the right side, Some customers ccan really make the designer go crazy with changes and ask for many design options, or a ‘try something else” attitude, and those extras should be foreseen in design agreement. Generally too many options always results random choice by customer that is not always the best; give ‘one good and one bad options’ approach provides botter result. Instead of a quantity of options we tend to provide one well worked out proposal of our liking (never showing to the customer anything that we don’t cs like!) based on our experience and study of the customer's preferences. Im general, dealing with the customer on creative issues and playing with his liking and disliking very psychological, but should be subject of another paper. 10, CONCLUSION From obtaining design requirements to launching, design is a creative process that requires skills, knowledge and talents of a number of specialists. The biggest challenge ‘of a boat designer is not just to be innovative, but to stay such within limitations imposed by practicality and regulations. Our philosophy is to design practical boats that are stylish and comfortable, but — and this is also top priority - good for the Sea and safe 11, REFERENCES 1 Nazarov A. Application of catamaran concept for small commercial, special and pleasure crafv/ 16th High Speed Marine Vessels “onference (HPMV-2011) - Shanghai, China, 2011, -E18 Recreational Boating Statistics 2010. US Cost Guard, COMDTPUB P16754,24 3 Nazarov A. Comfort on boats and yachts: design factors Australian Power Multihull Vol.17. May 2011 4, Smullin, J. Noise and vibration specification for large yachts. Noise and vibration engineering, pp.l-14, 5. Hix, L. Interior design methods for yacht design and boat building industry. Westlawn Institute of Marine Technologies, 2001 6 Sorensen E.W. Sorensen’s guide to powerboats Intemational Marine, 2002. 7. Tlasmoucno 10.H. Ocioas xyoxecrenmoro Kontetpyuponanix cyaoa, —J1.Cysoerpoeame. 1985, (Pavluchenko Yu. N. Fine art of ship design. - in Russian) 8 Edmunds A. Designing power and sail, Bristol Fashion Publications, 1998, ©2012: The Royal Institution of Naval ArchitectsMarine Design, 14-15 September 2011, Coventry University, UK wT ore ww Sco r0) ro exer cum OORT ioe vwrcctrun semen | ya sin pels ocean rads eked wind ence teoensraioti| sous ‘SRFIRES ARV SRST OT GAL TN SINR SION ATES AROS TO WATTRO™ TL cs (©2012; The Royal Institution of Naval ArchitectsTrans RINA, Vol 154, Part Cl, Intl J Marine Design, Jan - Jun 2012 Tog Taras ae ive] SRA pm nano 49 10 sworn ourune—cqang) peg ouuery| —_wonepowner>y| ToT St oa So wuspoe reds sia Zanabaay weeny ‘paisa wry] swonesapoy| SE TRG] TausaSlioos se] i RT Sane WOO] RRO TRS a TEA ym] aa: 2 sou a 91 wosstuswes panos =e =a 3 oF a er Sos aa oa oe 07 wer TST SRS RT SST yar psa agou jane] aso SINIKRILIDAL LAOAINOD 40 AAVILNAS- CNEL ©2012: The Royal Institution of Naval Architects 56