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该项目是为臼福本店（位于日本东北地区的气仙沼市）所运营的远洋金枪鱼延绳钓渔船“第一昭福丸”所做的外部和内部设计。渔船的总重量为486吨，可容纳15名船员。为了捕获大眼金枪鱼和蓝鳍金枪鱼，船员需要在海上持续辛苦劳动一个月的时间，身体和精神上的双重压力使得年轻船员的离职率超过50%。该项目旨在通过渔船的设计来减轻工作压力，同时吸引到更多年轻船员的加入。

The content of the project includes interior and exterior design of the pelagic tuna longliner shofukumaru, which is operated by Usufuku Honten in Kesennuma City, a city in the Tohoku region. Its weight totals at 486 tons, with a capacity for 15 crew members. To catch bigeye and bluefin tuna, the crew spends a month of hard labor at sea, where mental and physical stress is generally said to result in a turnover rate exceeding 50 percent among its younger crew. And so, the request was to design a fishing vessel that contributes to relieving the stress and attracts the young members.

▼渔船整体外观，overall view of the tuna longliner ©Takumi Ota

▼甲板，deck ©Takumi Ota

外观设计方面，与船体曲面相适应的线性图案凸显出渔船本身的美感。原先的“臼福”标志被替换为日本文字图形，作为“山”（Chigai yama）、“星”（Hoshi）和“一”（Ichi）的抽象化表达。该图形被重复运用在船舱地面等不同位置，将内部与外部空间统一起来。室内部分也加入了直线元素。

▼图形示意，pattern ©nendo

For the exterior design, the inherent beauty of the ship’s form was accentuated with a linear pattern emphasizing the hull’s curvature. Usufuku’s trademark, consisting of what is called a Chigai yama (mountains), Hoshi (star), Ichi (one) was deconstructed, and reconstructed into a quintessentially Japanese graphic pattern. The pattern is repeated in various forms, including the onboard flooring, to unite the interior with the exterior.The interior is also designed with straight lines.

▼与船体曲面相适应的线性图案凸显出渔船本身的美感
the inherent beauty of the ship’s form was accentuated
with a linear pattern emphasizing the hull’s curvature ©Akihiro Yoshida

设计概念源于这样一种想法：人类作为陆上生物并不习惯于长时间地呆在海上，因而，像建筑物、门窗、智能手机、电视屏幕这些能够让人联想到陆地生活的直线元素，可能会给人带来舒适的感觉。设计中大量使用了条形元素和直线型的门窗，同时在一些必要的位置保留了曲面元素以保证安全性。间接照明也以直线的形式排布，给人一种宁静和安心的感觉。

▼概念草图，conceptual sketch ©nendo

The idea was conceived from the notion that our species, not originally accustomed to spending long periods of time at sea, might be comforted by linearity reminiscent of life ashore: the straight lines of buildings, windows, doors, and smartphone and TV screens. Striped joints and rectilinear openings were mainly employed while maintaining curved surfaces in necessary locations to ensure safety, and indirect lighting that provides a sense of serenity and security also falls in straight lines.

▼船舱内部，interior view © Takumi Ota

▼设计中大量使用了条形元素和直线型的门窗
striped joints and rectilinear openings were mainly employed in the interior design © Takumi Ota

▼走廊，corridor © Takumi Ota

▼必要的位置保留了曲面元素以保证安全性
curved surfaces are maintained in necessary locations to ensure safety © Takumi Ota

另一个问题在于如何打破空间的单调感。专注于功能的环境（例如医院）往往具有均质化的空间，有时候会给使用者带来心理上的压力。为了避免这种情况，设计将上述的图案、条形元素和材料随机地布置在合适的位置，以创造具有变化特征的空间，使船员不再感到无聊。

Another issue recognized at this time was how to develop unevenness. As seen in hospital interiors, environments focused on functionality tend to be homogenous spaces, in which at times causes psychological stress for users. To avoid this, the abovementioned patterns, stripes, and materials were scattered at random and in moderation, to create spaces with different characters that the crew will not be bored with.

▼非均质化的空间使船员不再感到无聊
the spaces have different characters and the crew will not be bored © Takumi Ota

最后一个问题在于营造“重量感”。室内的家具被赋予了更厚重的观感，例如桌面的厚度要高出平均水平，坐凳犹如树桩般扎根于地面，减少了分散和漂浮的感觉。

通过“直线”、“非均质”以及“重量感”这三个关键词，设计最终为这一浮动的海上空间赋予了陆地般的安全感。

The last accentuating element of the design was massiveness. This also was aimed to distract the state of constant floating by designing furniture with heft－thicker-than-average tabletops and stump-like stools seemingly rooted in the floor.

With the three keywords – straight lines, unevenness, and massiveness – the design focused on incorporating the sense of security on solid ground.

▼具有厚重感的家具减少了分散和漂浮的感觉
furniture with heft distracted the state of constant floating © Takumi Ota

最后，渔船还开创性地配备了完整的Wi-Fi系统，并且增加了人均使用面积，同时提升了天花板的高度。除了一系列功能上的改进外，船上还增加了多条坡道，使金枪鱼能够更加平稳地运送至鱼舱内部，这也从另一方面减轻了船员身体和心理上的负担。

Lastly, the vessel is fully equipped with a Wi-Fi system – the first on a domestic tuna fishing vessel – and an increased per-person occupancy area along with a higher ceiling than the conventional interior. Further, a design aimed at alleviating the crew’s physical and mental burdens was achieved by installing slopes to facilitate the smooth transition of tuna into the hold, among various other functional improvements.

▼设计增加了人均使用面积，同时提升了天花板的高度 © Takumi Ota
an increased per-person occupancy area along with a higher ceiling than the conventional interior

▼空间细节，interior detailed view © Takumi Ota

photographer: Akihiro Yoshida, Takumi Ota
collaborator: NOMURA Co., Ltd.

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