128 wall coverings, creating environmental design without actual built materials,” explains Graboski. “Outside decks became theme parks. In one of our projects, we worked with the architects to create the giant anglerfish entry portal to The Abyss slide on Oasis of the Seas and its sister ships.” Entering the 2000s, technology began to become even more deeply embedded within the design of cruise ships and their signage. “More than 20 years ago, we suggested the idea of radio-frequency identification chips that could be an ‘always on your person’ item, but our client wasn’t ready for it,” says Graboski. “Now, similar technologies have been widely implemented by multiple cruise lines. We started working with Norwegian during this time, and continued to refine static and digital wayfinding concepts, combining the two to create a branded look for the ship’s digital information that recalled the appearance of its physical signage.” Graboski has seen every step of the evolution of the cruise industry over the last 40 years, and he reflects on the profound transformation of the onboard experience that has taken place. “In the beginning, ships were designed to provide an onboard experience which hearkened back to the days of ocean liners, with basic informational signage” he says. “Today, the ships have become destinations unto themselves, and themed environments are the norm. Knut Kloster, the visionary owner of Norwegian when we worked on the SS Norway project, had an idea for a 10,000 passenger, 1,500-foot ship called Phoenix. It was budgeted at around $2 billion and was to be a destination of its own. At the time it was considered unrealistic; 40 years later, Royal Caribbean has all but achieved this vision with its Oasis and Icon-class ships.” One hallmark of Graboski’s time in the cruise industry has been his longlasting relationships with both clients and suppliers, and he credits these partnerships for his success. “The key to our 43 years in business at TGA Design has been great clients for whom our talented designers developed creative designs and the fantastic suppliers who have worked with us to implement them,” says Graboski. “On the client side, we’ve worked with Royal Caribbean for over 40 years, while our fabricator SFY Architectural Signs and Marahrens have worked with us for 25 and 30 years respectively. The challenges along the way were overcome with the successful collaboration between our clients and the brilliant architects and designers.” As he looks ahead to the future, Graboski is excited about what’s still to come for his firm. “We are optimistic about the future, designing for both land and sea-based projects,” says Graboski. “We are in the construction phase for both the new MSC Cruises terminal in Miami and a major development in downtown Miami called Block 55, which will house MSC’s corporate headquarters. We’re also involved in our fourth major project with Universal Studios in Orlando, as well as the new Inter Miami Soccer Stadium. The future looks bright.” Designers on the SS Norway project, from left: Jack McLaughlin, Katharina Drexel, Tom Graboski DESIGN LEGEND
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