11 minute read
Meeting... Studio Dado
As Norwegian Prima takes its maiden voyage, Studio Dado delves into the design and development of a ship of firsts.
Words: Catherine Martin • Portrait Photography: © Lopez Productions • Interiors Photography: © Ann Remotigue
Envisioning a first-in-class ship is a major responsibility for any design practice. It requires expertise, ambition and foresight, and comes with the added pressure that every detail will serve as a blueprint for subsequent vessels. For Studio Dado – the Miami-based practice entrusted with designing a significant proportion of Norwegian Cruise
Line’s first Prima Class ship – the assignment has been both a challenge and an opportunity.
A vessel of firsts, it was to be the brand’s first new class of ship in almost a decade, with the aim being to elevate the guest experience; it was the first large-scale development helmed by Frank Del Rio following his appointment as
President and CEO of Norwegian Cruise Line Holdings in 2015; and for Studio Dado, it marks their first newbuild project of this scale, having only been established in 2016.
“A very wise man once told me that the first-in-class is basically like building a full-scale prototype,” explains Greg
Walton, speaking to Starboard via video call from his office in Coral Gables. “This project really encouraged us to rethink the paradigm of what NCL ships are.”
A well-known character in the field of cruise ship design – always with trusty canine companion Enzo by his side –
Walton founded Studio Dado together with Yohandel Ruiz,
Javier Calle and Jorge Mesa, all seasoned designers with a wealth of experience between them. Having delivered staterooms, spas, restaurants and retail for all Norwegian
Cruise Line Holdings brands over the years, the team have worked to expand their role. “With every new project we’ve been able to amass more spaces and bring more worth,” says Ruiz, as he joins the conversation. “Our remit has grown to the point where we’re the lead architect for many of the group’s projects; it has been a very successful relationship.”
So successful has it been, that of the design firms appointed to work on the vessel, Studio Dado was responsible for the highest percentage of total public areas – a major achievement for the firm. “To be invited to participate in the conceptual design phase is quite an accolade,” Ruiz continues. “There’s always pressure, but there was even more pressure with Prima because it’s the first newbuild project that we have had such a large scope of work on; not only did we have to prove ourselves as Studio Dado, we really had to bring our A-game and show what Studio Dado is about from a design perspective.”
Plans for the new class were first announced by Norwegian Cruise Line in 2017, a time of growth for the wider sector in which different demographics were beginning to see the appeal of sailing holidays. The expectations of travellers were evolving too – they demanded higher quality, more choice and ultimately, a memorable experience. NCL knew they had to make a mark, and so embarked on a gamechanging mission to elevate their offer. Norwegian Prima is the first of six Prima-Class vessels set to be delivered between 2022 and 2027, each accommodating 3,100 guests at double occupancy and boasting a whole host of dining and entertainment options.
“The brief was to develop a new class of ship that is different from anything that has been seen previously. NCL
wanted to tap into a younger demographic, so we spent a lot of time exploring what they look for in a travel experience,” explains Ruiz. “What do they like in a dining venue? What kind of entertainment appeals? How do they navigate through the ship? We live in a world where everything is about sharing, so we wanted to create a ship that reflects this social mentality of always being connected and sharing our experiences with the world.”
Ultimately, it was about experience, in every sense of the word. “It goes beyond just creating beautiful spaces,” Ruiz continues. “It has to be engaging too, encouraging travellers to interact with the spaces in a new way.”
In their research, Studio Dado looked to popular land-based experiences – ranging from the nightlife of Las Vegas to the opulence of Dubai’s Burj Al Arab – deconstructing the sought-after elements and seeking to recreate them at sea. “We wanted to challenge convention as to what’s possible at sea and change what had been typically thought of in the past as a Norwegian vessel,” confirms Walton, adding that design was the tool with which they could achieve this. The team commends the leadership of Frank Del Rio in driving innovation and encouraging them to rethink what a cruise ship looks like. “We were given carte blanche to dream, to think outside the box and bring forth ideas that may have been a little challenging, even for construction,” Ruiz adds. “To give you an example, the atrium was one of those spaces where we felt we could really push the envelope, and both NCL and the shipyard rose to the challenge of developing something that hasn’t been done before. We’re so thankful that we had their backing because clients often shy away from innovation, it can be risky, but Frank is truly a visionary and said ‘let’s go for it’ – that’s the best thing you can hear from a client.”
The boundary-pushing atrium that Ruiz refers to is indeed a marvel. Spanning three levels at the heart of the ship, the space is unapologetically contemporary, blending geometric lines with high-gloss finishes to evoke a sense of wonder. The grand staircase takes a distinctive linear form, while a custom lighting installation by Lasvit draws the eye upwards, its design inspired by the stars. What’s most interesting however is the architecture. “If you look at existing ships, the atrium is the same shape on every deck and symmetrical on both sides of the centerline,” explains Walton. “Our design throws out both of these contexts immediately; we envisaged an atrium that is different on each deck and also asymmetric about the centerline.”
The approach involved close collaboration with Fincantieri to figure out the exact shape of the openings, with calculations made to ensure the vessel remains structurally sound. “It was challenging, but Fincantieri pulled out all the stops to make it possible,” Walton continues. “The guest might not even notice, however those of us working in the sector realise it’s a major innovation in cruise ship design.”
What guests will notice is the impact this design has on their onboard experience. Rather than a transitional space to pass through, the atrium is conceived as a place to linger. In developing the idea, Zack Niphatkosalsilp, Senior Associate at Studio Dado, tapped into his experience as an urban planner and looked to gathering places around the globe to determine what makes them successful. One of the elements he found to be important was the envelope of the space, and how different activations encourage interaction and conversation. On Norwegian Prima, the different openings on each deck provide a variety of vantage points from which to take in the atrium; the assortment of seating caters to both social gatherings and moments of solitude; and the arrangement of restaurants, bars and retail promotes a journey of discovery.
Proof of the atrium’s success came on the inaugural voyage, when Ruiz observed the space in use. “People actually came to the atrium and stayed, they hung-out,” he says proudly. “We really achieved the goal of creating a place where people gather as opposed to just pass through.”
According to Ruiz, feedback from guests revealed an appreciation for the way in which the space unfolds, making for a different experience every time they visit. “There’s something for everyone; you can sit in a café and people-watch or engage in the entertainment at the bar – it functions on many levels.”
The programming is wide-ranging and incorporates restaurants, bars, lounges and retail spread across the upper decks. Of the spaces designed by Studio Dado, a luxury brands store on Deck 7 is characterised by a palette of rich materials in jewel tones, while a beauty emporium on Deck 6 is clad in warm timber in a look that is inspired by European apothecaries. The studio was also responsible for the design of an immersive gaming pavilion, the VIP casino and the Observation Lounge, where the clever use of alcoves and partitions creates zones for reading, relaxing, playing games or socialising. The colour palette here is intentionally neutral, featuring oatmeal and amber tones that are elegant and homely, yet don’t detract from the panoramic views. Even the often-overlooked corridors have been given careful consideration, with elevated finishes including detailed
GREG WALTON
millwork and carpet-to-wood flooring transitions. The design of the staterooms has been elevated too, bringing a residential style that caters to the desire for a homely sanctuary in which to relax. Light timbers and a neutral colour palette contribute to the spacious, airy feel, as does the strategically placed lighting and intelligent storage solutions. Every detail has been considered, harking back to Del Rio’s drive to rethink what a cruise ship looks like. Studio Dado has enhanced en suite bathrooms by expanding the size of the shower cabin, and taken the decision to eliminate the bedskirt, which may seem minor, but has a positive impact on the sense of space, not to mention housekeeping.
In total, Studio Dado have designed six of the restaurants on board Norwegian Prima, each with its own distinct identity as led by the cuisine. Taking guests on a global culinary journey, there’s a teppanyaki house that pays homage to Japanese craftsmanship through the use of bamboo-patterned glass tiles, atmospheric lanterns and tatami mats repurposed as wallcoverings; a French bistro that captures the elegance of Paris, with gold-leaf alcoves and a series of dazzling floor-to-ceiling chandeliers; and a Mexican that borrows the bold colour and pattern of the nation’s traditional dress. Perhaps the most highly-anticipated venue is Onda by Scarpetta, the fine-dining Italian that can be also found on Norwegian Encore, given an upgrade here in line with Prima’s elevated feel. Interiors draw from ancient Rome and combine the forms and finishes of MidCentury architecture, translated as rippling archways that envelop the dining room to dramatic effect.
Studio Dado’s restaurants also align with the NCL approach of putting the guest first. “Whenever we design a restaurant, the key principle we apply is that there shouldn’t be a bad seat,” explains Ruiz. “No-one wants to feel like they’re relegated to a corner, so the guest is always front and centre of the experience.”
Though each outlet has its own aesthetic, Studio Dado point out that there are commonalities across the ship, in both public spaces and staterooms. “They all feel like they belong together; there’s a common thread that runs through the design, between our space and those by other architects,” says Ruiz, referencing the work of Piero Lissoni, Rockwell
The design of Onda by Scarpetta draws from ancient Rome and incorporates rippling archways that envelop the dining room to dramatic effect
Group, SMC Design, Tillberg Design of Sweden and YSA Design. “This was achieved through collaboration and ongoing dialogue. Everyone was so invested in ensuring the success of this vessel. It’s very fluid and transitions were carefully considered, as were materials, colourways and lighting; it might be that we carried the same stone finish from one section to another, for example.” He adds: “All the spaces have their own individual language and personality, but as a whole, they feel like they’re connected; that’s a testament to the level of teamwork.”
It’s clear from speaking to Walton and Ruiz, that Norwegian Prima is a ship that they’re particularly proud of, attributing success to the teamwork and trust built along the way. “It may sound cliché, but good relationships make the process so much easier,” notes Ruiz. “This vessel was delivered to Frank’s vision and with full trust in everyone he brought to the table, he’s very much part of the conversation. Presenting ideas to him is the easiest part of our job because he knows from the minute he sees a finish or a fabric whether it’s something he wants; he’s so engaged and I think the results speak for themselves.”
NCL are delighted with the results too, by all accounts, and have since entrusted Studio Dado with the design of subsequent vessels. So what’s in store for Norwegian Viva, the second Prima-Class vessel due to set sail in 2023? “It is very much rooted in the same principles that were established on the first vessel, with a few minor tweaks,” says Ruiz, adding that the team are in fact currently working on the fifth ship in the series. “We’re hoping to make some larger changes towards the end of the class and deliver something a little different, though it will still feel like an evolution.”
The as-yet-unnamed ship is slated to complete in 2026, and so Studio Dado have been gazing into their crystal ball to forecast the future of cruise travel. It’s a daunting task, particularly given the events of the past two years, but the team are confident that they can deliver. “One thing for certain is that people see the value of cruising, they see the benefits to this type of vacation experience,” Ruiz concludes. “So long as we continue to deliver great experiences that are rooted in a brand message that’s true to NCL, we’re going to be successful.”
