Cruise & Ferry Interiors 2020

4 6 AD Associates carefully chooses products that enhance its designs to create visually appealing spaces for guests, such as in the suite lounges onboard Saga Cruises’ Spirit of Adventure ROUNDTABLE what you want the experience to be,” says Nguyen. “A space will feel off if you don’t consider them all.” Ryberg’s designs illustrate the system of objects at work. “Rather than having four chairs around a table, I would have a sofa with a large coffee table, some lounge chairs and pouffes – plenty of options to choose from – which could cater to the exchange of conversation,” she says. “Symbolic and sign value is especially important in certain cultures. I draw inspiration from the colours, patterns and textures in nature, and that becomes an important symbolic meaning in my interiors.” Influencing the space-time relationship – how quickly people move through an area – is another integral skill for onboard spaces. “Space planning is incredibly important to control the pace of flow,” says Nguyen. “Zig-zag opportunities and beautiful distractions encourage people to stay longer in a space, while a straightforward path to an intriguing destination will move them through swiftly. Artwork, colour and signage all have a part to play.” Designing for movement around any space involves multiple perspectives, says Finch. “It’s about layering elements according to the brand, the venue and how each person orients themselves in that space,” he says. “People heading along a corridor to their cabin, for instance, will move quickly past the art on the walls, picking up the colours and themes in their peripheral vision. But on leaving their cabin, they may be looking straight at an artwork and it will have a completely different effect, becoming part of a unique moment for that person in that space.” Design psychology is a subtle science, and for many designers it’s an innate understanding that is subtly woven into the creative and collaborative process. “The final result of an interior design is a combination of all the relevant facts,” says Claussen. “It’s based on a workflow with a high rate of communication and conversation – steps back and forth – inspired by our talent, experience, the fresh ideas of our young designers, responsibility, behaviour and environmental sense. The psychology aspect is not a tool – it’s instinctive to us. It’s about aiming for excellence in a way that is right for the client.” CFI