1 3 9 strived for craftsmanship, professionalism and a very personal expression derived deep from within my soul. Collaboration and partnerships No one can create a ship on their own and I’ve been very lucky to have worked with accomplished designers, architects, shipbuilding and outfitting professionals, turnkey contractors and product suppliers. There are too many to name individually, but they all helped me to gain the confidence, skills and experience to continually improve and push my designs to new limits. We always created a spirit of cooperation and understanding – and had a lot of fun in the process. If one naval architect were to stand out, it would be someone who always shared my design sensitivities: Maurizio Cergol, senior vice president of Marketing and New Concept Development at Fincantieri. His ships were graceful, beautiful and, most of all, they looked like ships. Industry evolution When I first started designing for Carnival, it was considered a low-class cruise brand for rowdy party people and that notion rubbed off on my work and reputation. Back then, the few cruise ships that were considered high class followed the old style of understated elegance, but they offered a boring passenger experience. The multiplicity of my designs on T.S.S. Festivale made the ship itself the destination for the first time, and this concept eventually took over the industry. I’m not surprised because my designs were based on a true understanding of the needs and desires of passengers seeking a fun holiday. Most significant ship My first vessel, T.S.S. Festivale, completely changed the concept of cruising. When INDUSTRY TRAILBL AZER Design on the High Seas tracks Farcus’s ascent in the cruise ship design industry and how his unique approach has led to exciting spaces such as the theatre on Costa Deliziosa shown on the book’s front cover. Design note: Farcus is particularly proud of the design he created for Costa Deliziosa’s theatre Photo: Costa Crociere
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