Cruise & Ferry Interiors 2020

4 5 Anti-stain technology has enabled Nguyen to use light colours and materials in Ryndam’s staterooms to make them feel spacious for example, I like to create an open area where large groups can interact, and more intimate seating options for those who are travelling with their partner.” How people enter, spend time in and leave a space are primary concerns in interior design, says Chris Finch, founder and CEO of AD Associates. “The function of the room is a big driver,” he says. “For example, people like less personal space in a social area like a bar than they do in a spa room.” Proxemics will likely gain prominence in the wake of recent events, says My Nguyen, director of interior design and interior operations at Holland America Group. “Before Covid-19 and the need for social distancing, designing with proxemics was more for comfort,” she says. “Now we need to design for comfort and safety. Dining venues and lounges will need to be redesigned because people’s personal space bubble just got bigger, in a time when close connection is needed most.” Altering passengers’ perception of space by making areas appear larger or smaller than they are is an important skill. “Lights, reflections, colour and contrast all help create a sense of spaciousness or intimacy, alongside features that draw the eye,” says Ryberg. “To make a large restaurant feel smaller I break the sightlines to create a sense of rooms within rooms. This is also a good way to create different kinds of seating options.” Providing uninterrupted vistas is an effective tactic, says Finch: “You can be sat within inches of someone but if you’re physically separated by a divider and can’t see anyone in front of you then you have a much greater sense of space.” Nguyen says newly developed anti- stain technology is a game-changer in enabling designers to use light colours that make small spaces feel larger – a technique she’s just used in her stateroom designs for Holland America Line’s newbuild, Ryndam. “The light colour palette is based on an environmentally sustainable carpet using the natural colour of sheep’s wool,” she says. “The staterooms feel natural, airy and spacious.” Objects, as well as layout, are integral to spatial experience, and the system of objects categorises each object’s value in terms of function, exchange, symbol and sign. For example, does a piano have enough value in the space to justify it replacing three chairs? What moods or events does the artwork symbolise? And what does the style of the chairs signify in terms of branding, social values or prestige? “Products don’t sit alone in a room; they are connected to everything else in there,” says Finch. “We make unconscious mental connections that affect our perception of a space and these can relate to the value of objects, symbolism or associated signs.” All four elements play off each other in a successful design. “The beauty of a successful interior is the way you prioritise these elements depending on