A blood-spattered Herman Watzinger slowly walks atop the waterlogged Kon-Tiki raft. He loses his balance falling into the Pacific Ocean. A swarm of great white sharks encircles him. The crew of the Kon-Tiki acts swiftly.

血液溅满赫尔曼·沃茨杰慢慢走涝康奇基号木筏上面。 他失去了进入太平洋的平衡。 一群大白鲨围着他。 Kon-Tiki的工作人员行动Swift。

Among them, Knut Haugland dives headlong toward the flailing Watzinger. Two other crew members throw out bloody shark innards to distract the swarm. Using a safety rope, Bengt Danielsson and Thor Heyerdahl pull their fellow crew members out of the dangerous water.

其中，克努特·豪格兰(Knut Haugland)朝着蓬勃发展的Watzinger俯冲。 另外两名机组人员扔出血腥的鲨鱼内脏，以分散群居。 Bengt Danielsson和Thor Heyerdahl用安全绳将他​​们的船员从危险的水中拉出来。

How did an ethnographer, an artist, an engineer, a sociologist, and decorated war heroes find themselves in the middle of the Pacific Ocean fighting for their lives? Why were they floating one mile per hour on a balsa wood raft? How did they get fresh shark innards?

民族志学家，艺术家，工程师，社会学家和精通战争的英雄如何在太平洋中部为自己的生命而战？ 为什么他们每小时在轻木筏上漂浮一英里？ 他们如何获得新鲜的鲨鱼内脏？

可能的小筏 (The Little Raft that Could)

The story of the Kon-Tiki and its crew draws parallels in design work. From the no-nonsense leadership of an agency executive to the junior visual designer full of vitality. The design team sets a course, assembles a crew, and prepares their supplies and tools. Just like the Kon-Tiki expedition, the only way a design project will be successful is the ability to bring the best out in each other.

Kon-Tiki及其工作人员的故事在设计工作中具有相似之处。 从代理商主管的精干领导到充满活力的初级视觉设计师。 设计团队确定路线，组建人员并准备其耗材和工具。 就像Kon-Tiki探险一样，设计项目成功的唯一途径就是能够相互借鉴。

The story of Kon-Tiki is one of strong personalities and expertise. Six men who built a raft that would carry them from the shores of Peru to an uninhabited atoll of the Polynesian islands. The most notable personality was expedition leader Thor Heyerdahl.

Kon-Tiki的故事是强大的个性和专业知识之一。 六个人建造了木筏，将其从秘鲁海岸带到波利尼西亚群岛的一个无人环礁。 最著名的人物是探险队领导人索尔·海耶达尔。

As an ethnographer, Heyerdahl spent years immersed in studying other cultures. His findings would prove to be his most ambitious. Heyerdahl concluded it was not one set of people who discovered the Polynesian islands. Instead, they were found by people 4000 miles away.

作为民族志学家，海耶达尔花了多年的时间来研究其他文化。 他的发现将证明是他最雄心勃勃的。 海耶达尔总结说，发现波利尼西亚群岛的不是一群人。 相反，它们是在4000英里外的人们发现的。

Heyerdahl believed the original inhabitants of Easter Island were migrants from Peru. He argued the monumental Moai statues resembled sculptures typical of pre-Columbian Peru more than Polynesian designs. He believed, an Easter Island power struggle between two peoples called the Hanau epe and Hanau momoko, along with Native Americans, led to the destruction of the island’s thriving culture and economy.

海耶达尔认为， 复活节岛的最初居民是来自秘鲁的移民。 他认为，巨大的摩艾石像比波利尼西亚设计更像哥伦比亚前秘鲁的典型雕塑。 他相信，两个民族之间的复活节岛力量斗争，即哈瑙埃佩(Hanau epe)和哈瑙莫莫科 ( Hanau momoko) ，以及美洲原住民，导致该岛繁荣的文化和经济遭到破坏。

Proving the source of the Moai statues would not be enough. For Heyerdahl, he wanted to show how the Peruvians made the 4000-mile journey by using only the materials and technologies available at the time. Although the expedition carried some modern equipment, such as a radio, charts, and sextant, Heyerdahl argued they were incidental to the purpose of proving the raft itself could make the journey.

证明Moai雕像的来源还不够。 对于Heyerdahl，他想展示秘鲁人如何仅使用当时可用的材料和技术完成4000英里的旅程。 尽管探险队携带了一些现代设备，例如收音机，海图和六分仪，但海耶达尔辩称，这与证明木筏本身可以踏上旅程的目的是偶然的。

In design work, it can often feel limited by materials and technologies. The Kon-Tiki expedition is a reminder that it is not an inhibitor. Finding ways to augment your tools and processes with other means is just as important.

在设计工作中，它常常会受到材料和技术的限制。 Kon-Tiki探险队提醒人们，它不是阻碍者。 寻找其他方法来增强您的工具和流程的方法同样重要。

设计人员 (The Design Crew)

Having secured private loans and a substantial donation of supplies from the U.S. Army Quartermaster Corps, Heyerdahl quickly assembled a crew. Like a design team, each provided unique and overlapping skills. Here is a breakdown of the crew:

在从美国陆军军需长队获得私人贷款和大量捐赠物资之后，海耶达尔Swift集结了一支机组人员。 就像设计团队一样，每个人都提供独特且重叠的技能。 这是机组人员的细目：

Thor Heyerdahl was the expedition lead and “captain” of the Kon-Tiki raft. You can say he was the creative director with vision and connection to the business.

Thor Heyerdahl是Kon-Tiki筏的探险队领导和“船长”。 可以说他是具有远见卓识和与企业建立联系的创意总监。

Erik Hesselberg was the expedition navigator. Hesselberg was also an accomplished artist. He painted the sizeable Kon-Tiki figure on the raft’s sails. In Hesselberg’s modern role, he serves as our visual designer navigating different options.

埃里克·黑塞尔伯格 ( Erik Hesselberg)是探险队的导航员。 赫塞尔伯格还是一位有成就的艺术家。 他在木筏的帆上画了一个很大的Kon-Tiki人物。 在Hesselberg的现代角色中，他是我们的视觉设计师，负责各种选择。

Bengt Danielsson, a Swedish sociologist, took on the role of Stewart in charge of supplies and daily rations. Danielsson also served as the Spanish translator. Aside from Danielsson’s distinct duties, his sociology background makes for a great UX researcher.

瑞典社会学家Bengt Danielsson担任斯图尔特(Stewart)的负责物资和日常配给。 Danielsson还曾担任西班牙翻译。 除了Danielsson的职责外，他的社会学背景也造就了出色的UX研究人员。

Knut Haugland was a radio expert, decorated by the British in World War II. His actions in the Norwegian heavy water sabotage helped stall Germany’s plans to develop an atomic bomb. For Knut, he’s the battle born front-end developer. He has stories to tell about client work.

纳特·豪格兰 ( Knut Haugland)是一名无线电专家，在第二次世界大战中受到英国人的装饰。 他在挪威的重水破坏行动中的行动拖延了德国发展原子弹的计划。 对于Knut来说，他是前生的前端开发人员。 他有讲述客户工作的故事。

Torstein Raaby was also in charge of radio transmissions. He gained radio experience while hiding behind German lines during WWII, spying on the German battleship Tirpitz. His secret radio transmissions eventually helped guide Allied bombers to sink the ship. In Torstein, we have our junior designer ready to pitch-in but with strong opinions toward an approach.

Torstein Raaby还负责无线电传输。 他在第二次世界大战期间躲藏在德国战线背后，侦察德国战列舰Tirpitz，从而获得了广播经验。 他的秘密无线电广播最终帮助引导了盟军轰炸机击沉了这艘船。 在托尔斯泰因(Torstein)，我们让初级设计师随时准备加入，但对方法有很强的见解。

Herman Watzinger was the first to join Heyerdahl for the trip. He was an engineer whose area of expertise was in technical measurements. He collected and recorded data on the voyage. Much of what he recorded was instrumental in advancing sea charts, as this area of the ocean was mostly unstudied. Herman was also most critical of Heyerdahl’s choices in materials. At one point, he was pleading to use reinforced metal on the waterlogged raft. Herman best represents a modern-day data scientist. He is happiest in front of a business intelligence model.

赫尔曼·沃辛格 ( Herman Watzinger)是第一个加入海尔达尔 (Heyerdahl)的人。 他是一位工程师，其专业领域是技术测量。 他收集并记录了航行中的数据。 他记录的大部分内容对推进海图都很有帮助，因为大部分海洋区域尚未研究。 赫尔曼对海耶达尔的材料选择也最为批评。 有一次，他恳求在淹水的木筏上使用增强金属。 Herman最能代表当今的数据科学家。 在商业智能模型面前，他是最快乐的。

A pet parrot named Lorita joined the expedition, as well. Later, the parrot would prove problematic chewing apart the crew’s radio antenna. Unfortunately, Lorita met her fate in the mouth of a great white shark, which brings us back to the beginning.

一只名为Lorita的宠物鹦鹉也加入了这次探险。 后来，鹦鹉将咀嚼机组人员的无线电天线变得困难。 不幸的是，洛丽塔(Lorita)在一条大白鲨的口中遇见了她的命运，这使我们回到了起点。

客户异议 (Client objections)

Enraged by the loss of his pet, Knut reached outside of the raft to grab hold of the passing shark. Torstein working in concert, used a pick to stab and lift the hungry shark. As the shark flops and whips on the Kon-Tiki deck, Torstein straddles the beast sticking it multiple times.

克努特(Knut)受到宠物遗失的激怒，伸到木筏外面抓住了过去的鲨鱼。 托斯坦(Torstein)在音乐会上工作，用一把镐刺伤了饥饿的鲨鱼。 当鲨鱼在Kon-Tiki甲板上泛滥成灾时，托斯坦(Torstein)跨骑着这只野兽多次。

Herman pleads with the men to stop, warning the blood will attract more sharks. Knut strikes hard and deep into the shark’s stomach, ejecting blood across Herman’s face. The men watch as the beast’s entrails spill out.

赫尔曼恳求男人停止前进，警告血液将吸引更多的鲨鱼。 克努特用力击中鲨鱼的胃，深深地刺入了鲨鱼的胃，在赫曼的脸上吐出了鲜血。 男人看着野兽的内脏溢出。

Hopefully, your design projects do not encounter such vivid and extreme circumstances. Yet, the frustrations we face can stoke this kind of ire. Especially when receiving undesirable client feedback. It can feel like losing a favorite pet, where retaliation is justice.

希望您的设计项目不会遇到如此生动和极端的情况。 然而，我们面临的挫败感可能会激起这种愤怒。 特别是在收到不希望的客户反馈时。 在报复是正义的情况下，感觉就像失去了喜欢的宠物。

After 101 days floating 4300 miles across the Pacific Ocean, the crew saw the Raroia atoll. But they could not navigate directly to its shores. The surrounding reef is too tall for the safe passage of ships and boats.

经过101天的航行，在太平洋上空飞行了4300英里，机组人员看到了拉罗亚环礁。 但是他们无法直接导航到它的海岸。 周围的礁石太高，无法使船只安全通过。

Herman, knowing the rhythms of the ocean, deduced that the 13th wave would provide enough force and lift over the reef. The raft needed to be close enough to the reef and anchored until the best wave rose. The crew made successful landfall on August 7th, 1947.

赫尔曼了解海洋的节奏，因此推断出第十三波将提供足够的力量并在礁石上升起。 筏子必须足够靠近礁石并锚定，直到最佳波浪上升。 机组于1947年8月7日成功登陆。

Overcoming client objections can feel like riding over dangerous reefs and swimming with sharks. They are both critical to the ecosystem yet, can stop a good team cold. Finding your Herman to help navigate these scenarios can be difficult. You may have to play the role of designer, navigator, and social worker.

克服客户的反对感觉就像骑在危险的礁石上和与鲨鱼一起游泳。 它们对生态系统都至关重要，但可以阻止一支优秀的团队。 寻找您的Herman来帮助应对这些情况可能很困难。 您可能必须扮演设计师，导航员和社会工作者的角色。

我为什么要设计自己的生活依赖它？ (Why do I design as if my life depended on it?)

Typical agencies and larger organizations staff projects arbitrarily. Often the design team has no control of this assembly. That is why you must design as if your life depends on it. If we are to go on this raft, what are the tools we will need? Is our leader able to provide those tools? What does success look like? By fully understanding the design brief, you can push back where it makes sense.

典型的机构和较大的组织人员可以任意进行项目。 通常，设计团队无法控制此装配。 因此，您必须像生活一样依靠它来设计。 如果我们要漂流，我们将需要什么工具？ 我们的领导者能够提供这些工具吗？ 成功是什么样的？ 通过完全理解设计简介，您可以将其推迟到有意义的地方。

As a strategist, I am often getting teams I had no control in picking. The projects require us to act as if we were on the ocean together for three months. In a recent incident, the creative director assigned to me refused to “get on board”. He continued to misinterpret the visual approach and requirements for the project.

作为战略家，我经常让自己无法选拔的球队。 这些项目要求我们像在海洋上一起呆了三个月。 在最近的一次事件中，分配给我的创意总监拒绝“加入”。 他继续误解该项目的视觉方法和要求。

I challenged the creative director on his choices. Why was he not producing work aligned with the client approved mood boards? Why hadn’t he shown up for reviews? His response floored me: “What do you care? We are just reskinning a web site.” I could have easily replaced him, but we were “stuck on the raft,” and work was due.

我挑战了创意总监的选择。 他为什么不按照客户认可的情绪板来制作作品？ 他为什么没有出现在评论中？ 他的回答使我感到震惊：“您在乎什么？ 我们只是在重新设计网站。” 我本可以很容易地替换他，但是我们“被困在了木筏上”，工作已经到期。

I assured him the project was not about reskinning a web site but creating a long-standing relationship with the client. The work matters and will continue to matter regardless if you are “just designing” icons or websites. What the creative director lacked was an inspiration.

我向他保证，该项目不是要重新设置网站外观，而是与客户建立长期的关系。 无论您是“设计”图标还是网站，这项工作都很重要，而且将继续重要。 创意总监所缺乏的是灵感。

These are not platitudes. These are fundamental components of doing design work. It does not matter whether you’re a visual designer, a front-end developer, or managing the project; you all work as a finely tuned ship. If you treat the work like you are on a raft with a crew, great things will happen.

这些不是陈词滥调。 这些是进行设计工作的基本组成部分。 您是视觉设计师，前端开发人员还是管理项目都没有关系。 你们所有人都是经过精心调校的船。 如果您像对待船员一样对待工作，那么伟大的事情将会发生。

You can learn more about the Kon-Tiki expedition through Thor Heyerdahl’s book, Kon-Tiki: Across the Pacific in a Raft. The 2012 dramatized feature film, Kon-Tiki is available on Netflix.

您可以通过Thor Heyerdahl的书《 Kon-Tiki：穿越筏子穿越太平洋》进一步了解Kon-Tiki探险。 可在Netflix上观看2012年戏剧化的故事片Kon-Tiki。