27 minute read
FEATURES
SHIPPING FORECAST ON WATER
Beacon of Hope
Prior to 2020, demand for cruise holidays was on the rise. The need for newer, larger and ever more ambitious vessels was growing and shipyards were booked up for years to come. 2018 saw the arrival of the 6,680-capacity Symphony of the Seas – the largest cruise ship in the world – and there was no sign of a slowdown. But of course 2020 came along and has since thrown the very existence of mega-ships into question thanks to concerns over confined spaces and proximity to others.
However there is hope. Despite the immediate headwinds, interest remains robust and new construction has continued. There have inevitably been delays, and potentially a drop in future orders, but vessels already in the works have pushed ahead. In September, Royal Caribbean’s Wonder of the Seas hit a significant milestone as it transferred to Chantiers de l’Atlantique shipyard for interior fit-out. Celebrity Cruises meanwhile marked the keel laying of Celebrity Beyond, the next ship in the Edge Series, and P&O took delivery of Iona, its new LNG-powered ship. The benefits of those ships under construction or in the pipeline, is that layouts can be altered and new antimicrobial finishes specified for a post-Covid generation of traveller – the work goes on for the sector’s suppliers of products and services.
Operators meanwhile are working together to come up with solutions to get ships back on the water, and they can take some comfort from the pent-up demand that will inevitably see bookings return when it’s safe to do so. The passenger experience may be a little different, but with enhanced measures and the right communication, cruising will return.
Making Memories
Hotels are combining overnight stays with adventures on the water to bring one-of-a-kind travel experiences to their guests.
Creating a memorable stay is the holy grail when it comes to hotel development. While the focus is often on the range of facilities, the interior design and the level of service, a growing number of properties are looking further afield to delight their guests, even encouraging them to go offsite to explore their surroundings.
In recent years, a number of hotels have taken to the water, either through partnerships with independent operators or by launching their own ventures. Despite the current challenges, the trend has continued through 2020, and the desire for one-of-a-kind travel experiences is now greater than ever.
Croatia’s Maslina Resort for example, has invested in a new luxury boat to impress guests. The recently opened Relais & Chateaux property on the island of Hvar offers to collect visitors from the mainland in a customised Colnago 45 TS, designed bespoke to align with the hotel interiors. The hotel believes that the new addition will serve to enhance the overall experience, with guests revelling in the prestige of a private transfer rather than having to wait for the public ferry. The hotel check-in process even takes place on-board, meaning travellers can enjoy the facilities the moment they step ashore.
In Botswana, Chobe Game Lodge has enhanced its offer with a fleet of solar-powered boats. The vessels – perfect for wildlife viewing and tranquil sunset cruises – were first introduced to the national park in 2014, but Chobe is the first to operate a full fleet, with each one customised to a high specification. As well as setting a new standard for ecotourism in Africa, the venture enables guests to go on safari direct from the resort’s jetty.
Hotels in Asia meanwhile, have been looking to the continent’s extensive network of waterways to develop bespoke experiences. Anantara Riverside Bangkok has launched Loy River Song, a luxury cruise on the Chao Phraya River, and offers packages that combine a stay at the hotel with two-, three- or four-day voyages sailing
to Siam’s ancient capital of Ayutthaya. The vessel features four staterooms, a lounge and dining room, all designed to evoke the elegance of old Siam, with handcrafted furniture, locally sourced antiques and intricately woven textiles in rich jewel tones. Cuisine comes courtesy of Thitid ‘Ton’ Tassanakajohn of Michelin-starred restaurant Le Du Bangkok, and rounding out the offer, there’s a range of guided shore excursions. Paradise Vietnam has also built on its portfolio of hotels with two new ships for overnight excursions to Lan Ha Bay. The five-deck vessel features 39 spacious cabins with separate walk-in closets, en suite bathrooms and private balconies affording views of the towering limestone karsts. “Lan Ha Bay is breathtakingly beautiful and Paradise Grand makes for an exciting new horizon for us,” comments Nguyen Cao Son, Chief Operating Officer of Paradise Cruises. “We are drawing on the best of everything we have learned since launching our first boat more than a decade ago, and introducing new experiences such as Lan Ha Bay’s first floating movie theatre.”
And finally, Nihi Sumba – a remote hideaway in Indonesia – has teamed up with Aqua Expeditions to create a new adventure exploring the nearby islands of Padar, Flores and Moyo. Sailing on Aqua Blu, a recently refurbished superyacht, guests will experience off-thebeaten track adventures, locally inspired cuisine, high levels of service and quality comforts. Both parties believe that the combination of land- and sea-based explorations and their shared focus on authentic, tailor-made experiences will enable them stand out from the crowd, stating, “guests will embark upon a once-in-a-lifetime journey sure to stamp indelible memories”.
And it’s those indelible memories that will be talked about, shared and liked, whether in communities, social media networks or the press, creating a buzz that no marketing campaign can replicate, and crucially, attracting new guests in an increasingly competitive market.
Nihi Sumba has partnered with Aqua Expeditions (opposite) for trips around Indonesia; Croatia’s Maslina Resort transports guests in a customised speedboat; Anantara Riverside Bangkok has launched Loy River Song (top); and Paradise Vietnam has built on its portfolio of hotels with two new ships
Belmond Afloat
Craftsmanship and sustainability win judges over in the Belmond New Designers Award.
Luxury river cruise operator Belmond has announced the results of its design competition, with the winners set to contribute to a forthcoming barge renovation as part of the Belmond Afloat portfolio.
In partnership with New Designers, the competition asked graduates to take into account the global pandemic and consider how the ensuing shift in values and perspectives will influence design; submissions were made online before shortlisted candidates were selected for interview by an expert panel of judges. Beating off competition from over 3,000 entrants, the winners have now been named as Alexandra Carr, 3D Design graduate from the University of Plymouth, and Hari Gordon, 3D Design & Craft graduate from the University of Brighton. Both were selected for their skilled craftsmanship, sensitivity to the natural world and sustainable design ethos – all of which are a good fit with Belmond’s own design philosophy.
“Our search this year for disruptive and visionary new designers was very different, but the calibre of talent to choose from proved to be as remarkable as ever,” explains Celia Geyer, Senior Vice President, Design & Project Development at Belmond. “Our business depends on the creative thinkers, makers, designers and craftspeople who help us to create exceptional and storied properties with timeless heritage. There has never been a more important time to support the next generation, who will help us to shape the future of travel and transform many other industries beyond.”
Alexandra Carr’s approach, entitled Plastic is Not the Enemy, aims to demonstrate the value of the often-disregarded material. “Through my designs, I am trying to demonstrate that plastic does not need to be our enemy, but rather a valuable recycled material that – in the right hands – can be transformed into a beautiful and precious item,” she explains. Having used lockdown to build a 3D printer, Carr’s submission showcases techniques to generate bespoke shapes from recycled plastic.
Hari Gordon’s Origins project meanwhile, is built on the belief that people can have a tangible experience with the natural world through handmade wooden objects that are carved to resemble elements of nature. His submission seeks to make use of sustainably sourced and reclaimed materials, brought to life through an appreciation for craftsmanship and a passion for traditional woodwork.
As part of their prize, Carr and Gordon will receive a cash bursary and a commission to design a one-off piece to be manufactured and displayed on board a Belmond Afloat barge due to undergo renovation in 2021.
Geyer concludes: “As we embark on a renovation project that will transform two barges within our Afloat in France fleet, we are delighted to have found two designers who have a deep understanding of the role that design plays in enhancing our slow-travel experiences, helping our guests to forge a closer tie to the people and the places they seek to connect with. We are thrilled to have this opportunity to work with Alexandra and Hari and look forward to unveiling their exclusive designs in 2021.”
On-board innovations and a newly-formed taskforce – the cruise sector comes together to tackle Covid-19.
The cruise industry has long been plagued by tales of passengers spending their entire holiday unwell; not just a little green around the gills, but struck down with flu or a gastrointestinal infection that reportedly swept through the ship leaving hundreds bedbound. Norovirus outbreaks have been rife in recent years for example, often resulting in an early return to port and disembarkation. However there’s now a much greater beast at loose, this time bringing the industry to a complete standstill.
Coronavirus put a stop to cruising back in April, and since then, the sector has been battling to find solutions that will get boats back on the water, and above all, allow passengers and crew feel safe at sea. Despite the sector’s already stringent standards, operators have committed to enhanced health and safety measures, taking steps to install new air filtration systems, add sanitation protocols, recruit expert medical teams and devise schemes for daily crew screenings.
One of the most influential parties spearheading a return to operations is the Healthy Sail Panel, formed by Royal Caribbean Group and Norwegian Cruise Line Holdings to bring together globally recognised experts in medical practice and research, public health, infectious diseases, biosecurity, hospitality and maritime operations. In response to the pandemic, the panel has submitted a plan – 74 steps to safeguard the health of guests, crew and communities – to the US Centers for Disease Control & Prevention (CDC). “The Healthy Sail Panel spent the last four months studying how to better protect the health and safety of guests and crew aboard cruise ships,” comments Dr Scott Gottlieb, the panel’s co-chair. “Taken as a comprehensive approach, we believe the panel’s robust public health recommendations will help inform strategies for a safe resumption of sailing.”
Designers and operators are also doing their bit. Foreship’s Project Hygiea – which aims to limit the presence, spread and potential impact of pathogens by way of interception, prevention, mitigation and evacuation – has been verified by classification society Bureau Veritas and deployed on an undisclosed cruise ship. YSA Design meanwhile is collaborating with energy services and engineering firm Scenso on Ship Planner, a new solution that enables shipowners to analyse air quality on board and ensure a safer, more hygienic environment for guests. And in a groundbreaking innovation, Viking
Sail Healthy
has completed the installation of the first fullscale PCR laboratory at sea. The facility on the new 930-passenger Viking Star enables daily testing of all crew members and guests with a non-invasive saliva test. “This moves us one step closer to operating cruises again, without compromising the safety of our guests and crew,” comments Matt Grimes, Vice President of Maritime Operations for Viking. “The recently announced CDC guidelines are clearly aligned with our public health research, and we welcome the agency’s push toward testing, as we believe this is the only way to safely operate. In our view, continuous PCR testing, along with our extensive on-board hygiene protocols, will lead to making Viking ships a safe place to get away to and explore the world.”
What’s particularly interesting about many of these strategies and measures is the level of collaboration and information-sharing; there’s a unified response to the pandemic, with competitors coming together for the first time to help save a struggling sector.
© Marc McAndrews
With buffets off the menu, what does the future hold for post-pandemic dining on board a cruise ship?
The ubiquitous buffet is a staple of every cruise, the dozens of self-serve stations often the only way to efficiently feed hundreds of passengers within a limited timeframe. But with the onset of Covid-19 and concerns over the spread of pathogens, their very existence has been called into question. Queueing in close proximity to others, open food displays and the handling of serveware have all been redflagged as super-spreaders, forcing cruise lines to rethink their dining concepts on a major scale.
The organisers of Cruise Ship Interiors Expo (CSIE) recently published a whitepaper addressing the challenges ahead for on-board dining. Entitled The Future of Cruise Dining and backed by a Cruise Conversations webinar, the report cites the traditional dining room – usually full to capacity out of necessity – as a potential problem. But with insight from the community, it proposes possible solutions, such as wearable technology, one-way passenger flows and changes to seating arrangements in a bid to see spaces operational once again.
While cruise lines are undoubtedly up against it, the pandemic could be an opportunity for a complete overhaul of their dining experiences. Recent years have already seen a flurry of new ideas, not least the enlisting of big-name chefs to head-up culinary programmes. Daniel Boulud is a brand ambassador for Celebrity Cruises; Thomas Keller has created The Grill exclusive to Seabourn; and MSC Cruises has brought in Ramón Freixa and Roy Yamaguchi for its ongoing fleet expansion. There’s been a notable move towards choice too, with a greater number of smaller à la carte restaurants rather than one vast dining room, largely inspired by the number of options available in cities.
When it comes to dining in a post-Covid world, cruise lines can also look to their land-based counterparts for inspiration; bars and restaurants in some parts of the world have reopened and are the testing ground for new ideas. Removing tables to allow for social distancing is perhaps the most straightforward solution, however this puts pressure on the already-tight profit margins for independent restaurants, while on cruise ships, it could mean that there simply isn’t enough capacity to seat everyone at mealtimes. Perspex screens have also proved effective, often to the pains of the designer, who sees their interior scheme marred by unsightly shields. As such, there have been a number of more aesthetically
Food for Thought
pleasing solutions since those early days; Adam Tihany for example has revisited a number of his projects to design bespoke screens that better coordinate with the interiors.
CSIE’s report meanwhile suggests a range of technology-based solutions to ensure a safe dining experience. Wearable devices could alert passengers as to when a table becomes available, while the implementation of apps to order and pay for food reduces the need for personto-person contact. Another idea is to install individual dining pods, much like those that have popped up on the terraces of a number of land-based restaurants; as well as combatting the spread of disease, they provide a memorable dining experience for passengers. Many believe that the buffet is no longer viable, so 24-hour diners, takeaways and grab-and-go options could all help ease the pressure on reducedcapacity dining rooms. Unfortunately, there’s no single solution, but with Covid-19 still lingering, now could be a good opportunity to redesign onboard dining once and for all.
With a comeback on the horizon, cruise operators face a new set of challenges; if the industry is to make a successful recovery, it will require a radical rethink across the board, say YSA Design.
The current global health crisis has had a measurable impact on businesses in almost every domain, and those in the cruise sector have been hit harder than most. Having been brought to a complete standstill earlier this year, the industry is now making tentative steps towards its return. Yet the fallout from the coronavirus outbreak is expected to have lasting consequences, and operators have exercised caution in pushing their restart dates back to 2021. For all of the optimism surrounding a potential recovery, there remains uncertainty.
Accordingly, the cruise ship of the postpandemic era will have to be flexible. “We all like to envisage a return to normality in which vessels are full and guests can once again enjoy the traditional cruise experience – and maybe one day that will be possible,” states Georg Piantino, YSA Design’s Senior Architect. “For now, however, further outbreaks cannot be ruled out, and shipowners will want the ability to increase or decrease the capacity of interior spaces and implement or remove certain facilities depending on circumstances.” ROOM TO SPARE When cruise ships do set sail again, one of the most immediately apparent changes will be the reduced number of guests. To maximise the amount of space between passengers – or parties of passengers – and thereby cut the risk of illness spreading, vessels will be operating far below capacity for the foreseeable future.
YSA Design’s CEO Anne Mari Gullikstad explains that this will be reflected in ship interiors: “Fewer guests means more unused space. Spare cabins will be converted into additional facilities such as medical rooms or extra accommodation for crew members, enabling them to maintain distance. Public areas meanwhile will be adapted to accommodate fewer people per square-metre and to keep groups farther apart.”
CLEAR SPACES, CLEAN SURFACES As has proven to be the case in wider society, reducing human traffic in public areas is an effective strategy in preventing the spread of pathogens. However, cutting cruise capacity alone will not keep coronavirus off ships; there are other, equally essential considerations, says Piantino. “Passenger flow is a key topic,” he notes. “Even if vessels are carrying just two-thirds of their usual number of guests,
Preparing for all Eventualities
congregation in certain areas – such as checkin and disembarkation stations – is unavoidable, so these will have to be optimised to prevent congestion and bottlenecking. The kind of social-distancing measures we have seen in supermarkets could apply here.”
Maintaining a safe distance between individuals and groups will be of little help if the virus is spread via a surface, he points out. “Clearly, hygiene is of utmost importance. Cleaning will be more thorough and frequent, and the products used may be more abrasive, so surfaces have to be resilient. Antibacterial materials, which are already widely used on board cruise ships, are likely to become even more prevalent.”
AIR-QUALITY HIGH ON THE AGENDA According to studies, coronavirus can survive in aerosol droplets for several hours, meaning that clean air is just as important as clean surfaces. For this reason, YSA Design is collaborating with energy services and engineering company Scenso on Ship Planner, a new solution that
enables owners to analyse air quality on board their vessels and ensure a safer, more hygienic environment. As a unified platform for the cruise sector, Ship Planner is currently in development with several pilot projects under way.
Leading this joint venture from YSA Design’s side is Senior Architect Kristian Englund, who argues that while adequate distancing, efficient passenger flow and the right choice of materials are all crucial to the revival of the cruise industry, the sector needs to pay more attention to air hygiene. With an approach based on the slogan ‘analyse, optimise, manage’, Scenso’s interactive software solution is designed to monitor this, enabling operators to define goals and develop a road map for achieving cleaner air across their fleet. “Should air quality be found lacking, the issue can be addressed by upgrading filtration systems, optimising existing air zoning and actively cleaning air in venues through ionisation and particle capture,” states Englund, adding that useful findings from the data harvesting tool can also be applied in the construction of newbuilds. “In the future, passenger ships will be designed to further limit the flow of air between cabins, as well as circulation between public spaces and crew areas,” he notes. “They may also be fitted with systems to shut down or reroute airflow in an emergency.”
Although Scenso’s platform is a sustainability solution at its core, its potential in helping cruise owners to improve on-board air purity is clear. “The development of air quality technologies is accelerating, and as these solutions become more advanced, the benefit of the Scenso platform will become increasingly apparent. We are confident that by using the knowledge gained in our collaboration with Scenso, YSA can play a significant role in ensuring safer ship operations in the wake of the coronavirus pandemic,” concludes Englund.
A CALL FOR CUTTING-EDGE TECH YSA Design’s collaboration with Scenso is just one example of how the Norwegian company has embraced modern technology to aid the cruise sector’s recovery. In these unprecedented times, the interior experts have been working to uphold their usual high standards of service using stateof-the-art communication and collaborative tools. Video conferencing services with screen sharing capabilities have allowed YSA Design to remain connected with clients to discuss plans and reflect on progress. The two parties are able to streamline the project workflow using business information modelling and 3D file sharing.
Crucially, virtual reality and other remote support tools enable YSA to inspect both retrofit and newbuild projects from afar and assist cruise operators with the entire adaptation process. “Our increased implementation of modern technologies highlights our involvement from design conception to delivery and is part of our efforts to restore public faith in cruise holidays,” says Piantino. “We are committed to giving the industry the kick-start it needs.”
A BALANCING ACT The industry’s appetite for on-board modifications and safety measures to ensure a resumption in operations in the near future is clear, though it’s important to remember that hygiene measures are not selling points, but minimum requirements. “As the most basic of necessities in any hospitality setting, safety and hygiene are innate parts of the customer experience,” explains Gullikstad. “In the current climate, they have understandably taken the spotlight, however operators must strike a balance between such measures and what they are actually selling to guests – an experience.”
Gullikstad believes that achieving this balance needs to be part of the discussion for any adaption project, explaining that even if health and hygiene standards are guaranteed, tourists will be in no hurry to return to cruise ships if the on-board experience is lacking. “We know that vessels will be emptier, and passengers may even appreciate the extra personal space, but the conviviality of a cruise is a unique draw that we must take care to protect,” she says. “Social distancing has to be realised in a way that doesn’t make people feel isolated from their fellow holidaymakers, while optimising interiors for hygiene and passenger flow shouldn’t mean sacrificing charm and character.”
THINKING OUTSIDE THE BOX As a company whose core activities range from developing general arrangements to project management, YSA Design is positioned to assist cruise operators with potentially complex preparations. The Oslo-based architecture and interior design firm has served the industry for 35 years, during which time it has consistently innovated and overcome challenges.
With a demonstrated flair for optimising and reinvigorating interior spaces, YSA Design aims to ensure that cruise ships retain their appeal despite the intensified safety and hygiene requirements to which they must adhere. The company’s ability to think outside the box, combined with the technical expertise to turn concept into reality, will prove invaluable to shipowners readying their vessels for this new chapter in history.
COLLABORATION KEY TO COMEBACK Although the sector looks set to return in the not-too-distant future, it is likely to feel the impact of the pandemic for years to come. Social-distancing measures and stricter hygiene standards will inevitably alter the cruise experience for holidaymakers, but hopefully not beyond recognition. “Our job is to guide shipowners through these challenging times, helping them to conform to new standards without neglecting what makes their vessels and on-board offerings so attractive,” concludes Gullikstad. “But we cannot do this alone; it will require close collaboration between cruise lines, shipyards, naval architects and technology service providers, as well as input and feedback from the general public. After all, there will be no cruise industry comeback if the passengers are not on board.”
Meeting… Giacomo Erasmo Mortola
With a career spanning four decades, Giacomo Erasmo Mortola has designed for many of the world’s leading cruise lines. Here, the industry veteran talks planning to perfection, passenger flows and preserving his legacy.
Words: Lauren Ho
What began as a holiday sailing around the Caribbean on board Sitmar’s Fairsea in the late 1970s, turned into a defining moment for both the cruise industry and the then newly-qualified architect Giacomo Erasmo Mortola. For, in the same way that, say, the late David Collins shaped London’s dining scene or Philippe Starck set the design bar for Ian Schrager’s boutique hotel concept, Mortola has put an indelible stamp on the cruise business. “While on board Fairsea, I noticed the shopping area was not very well arranged, so I took several photos, drew some sketches, and when I returned home, prepared a proposal for a new design with handmade renders,” explains Mortola. This enthusiasm, in turn, led to a meeting in Monte Carlo with Sitmar’s owner, Boris Vlasov and, as Mortola says: “My adventures in the cruise business began.”
By 1985, Mortola had set up GEM, his own Genoa-based firm, and when Sitmar merged with Princess Cruises four years later, his longstanding partnership continued. That fateful meeting has resulted in over 30 projects for the brand, including one of Mortola’s career highlights: the design of the mega 109,000-tonne Grand Princess in 1998, which at the time, was the cruise line’s flagship and the largest, most expensive passenger vessel ever built at a cost of approximately US$450 million.
Today, the design firm’s impressive portfolio is a roll call of the industry’s biggest players including – amongst others – Cunard, Silversea, P&O and hip newcomers Virgin Voyages, for whom Mortola is the head architect for its upcoming four-ship fleet. “Another important milestone in my career was achieved when I was engaged by Virgin Voyages for the architectural coordination of their newbuilds,” he explains. “During this project, I had the great pleasure of working with Dee Cooper and Tom McAlpin on their innovative and unique approach to the world of cruise ships.”
The cruise line from Sir Richard Branson’s Virgin Group, which has touched everything from gyms to motorsports, though is probably best-known for shaking up the aviation industry in the 1980s with the launch of the relentlessly cool Virgin Atlantic airline, is the company’s latest €3bn undertaking. Assembled to Virgin’s exact specifications by Italian shipbuilding company Fincantieri, the new line is certainly hyped to throw out the rule book with a vibrant lifestyle-driven product – not least by tapping a series of prominent designers from Tom Dixon to Roman & Williams,
Mortola is working with Silversea to design its expanding fleet, which includes Silver Muse and Silver Origin
of which none had previously worked on a cruise ship before.
Newfangled innovation aside, Mortola is clear that the key to staying at the top of the game is a personal, tailor-made approach and says that cruise ship design is not just about using up-to-date materials and following the latest colour and design trends. “There is a tension between preserving a cruise line’s identity and introducing elements of innovation that enhance the passenger experience,” he says. “You can’t do that with a production-line mentality.” He also explains that functionality and aesthetics are equally important, stating: “Functionality, passenger and service flows, as well as technical constraints are all important factors that need to be addressed in conjunction with the interior design project of the single areas.”
Indeed, from the evocative Art Deco opulence of Cunard’s Queen Elizabeth ocean liner to the understated elegance of the 51 all-suite staterooms on Silver Origin, Mortola’s designs are planned to perfection and are certainly not pinned down to one particular style. The latter is, in fact, Silversea’s contribution to the growing expedition cruise market; a destination-specific ship built especially for sailing around the Galápagos, its stylish cabins designed by Mortola to make the most of the island landscape with ocean-view bathtubs and balcony showers. “Destinations are playing the major role and the cruise experience is being redefined as a journey to cultural enrichment,” says Mortola.
Silver Origin is one of the designer’s many ongoing projects with the expanding brand, which also includes the recently launched Silver Moon, the upcoming Silver Dawn (2021) as well as Silver Muse (2017) and Silver Spirit (2009), with Mortola noting the latter two as particular career highlights. “I was responsible for the entire project, from the masterplanning to the interior design of passenger suites and public venues,” he says proudly.
He also notes Manfredi Lefebvre d’Ovidio, the chairman and former owner of Silversea Cruises, as an especially significant figure in his career over the years, referring once again to a personal touch being key to his success. “During the development of the latest Silversea newbuilds and refitting projects, I have had the pleasure of approaching design in a similar way to the process I followed in the seventies,” reminisces Mortola. By this, he means a good old-fashioned face-to-face meeting, which he feels is important for both creativity and communication. “Face-to-face meetings makes it possible to propose alternative solutions based on the owner’s feedback,” he explains. “It also allows us to have a clear understanding of how to finalise the design by the end of the meeting. With the advent of the internet, the process of presenting designs and getting feedback has become much faster. As a consequence, projects are presented again and again with new solutions as owners increasingly seek to achieve their version of perfection.”
But while Mortola might feel nostalgic, after 45-years in the business, he knows better than anyone the importance of adaptation. These days, he manages GEM alongside his son Lorenzo, who joined the firm in 2012 after completing degrees in naval architecture and interior design. Naturally, with Lorenzo having spent much of his life in close proximity to the cruise sector, Mortola says: “Lorenzo was raised in a family that has close ties to the shipping industry. He has brought new ideas and energy to the studio helping to improve our creative process and the way we manage projects. He has also enhanced the digitalisation of the studio and streamlined many of our processes.”
For some, this might mean taking a step back, perhaps slowing down to enjoy some of the cruise ships he has designed. Mortola, however, is as keen as ever to keep going, eagerly remarking that design is a passion for him and that he “cannot foresee a future that doesn’t involve continuing to work on new designs and having an active role in the management of the firm”.
Up next GEM will continue its ongoing collaborations with both Virgin Voyages and Royal Caribbean on Silversea, which includes the 2021 launch of Silver Dawn. When asked what he enjoys most about his job, Mortola replies: “Being able to tackle the complex design solutions and bringing forward a design that is both functional and elegant, and which provides added value for the client as well as the passengers.”
