2 工业设计专业英语第三版 第二课 设计革命 采访对话

Design Revolution:

An Interview with Emily Pilloton

设计革命:

对Emily Pilloton的采访

By Allan Chochinov

艾伦 乔奇诺

Allan Chochinov: Welcome Emily! We’re very excited about the new book of

course, and wanted to start at the did this project begin?

欢迎艾米丽!当然，我们对新书感到非常兴奋，并想从头开始。这个项目是如何开始的?

Emily Pilloton: As has been the case with so much of Project H\'s growth, it wa

s a story of

serendipity. When I launched Project H in January of 2008 at the age of 26, I had

big plans, and

wanted to push product design to a more humanitarian-driven industry. The idea

of writing a

book crossed my mind, though I had placed it on my things to do in the next ten

years\" list. About

four months into Project H\'s existence, I had just returned from South Africa and

Uganda, where

we had been working on projects with Hippo Roller and the Kutamba AIDS Orpha

ns School, and

was giving a lecture during New York design week, at Metropolis’ \"Make Good a

nd Prosper\"conference at the ICFF (Figure 2-2).

艾米丽·皮尔洛顿:就像“H计划”的发展一样，这是一个充满意外的故事。2008年1

月，26岁的我启动了H项目，当时我有一个大计划，想把产品设计推向一个更人性化的

行业。写一本书的想法掠过我的脑海，尽管我已经把它列在我未来十年要做的事情清单上。

大约四个月项目H的存在,我刚刚从南非和乌干达,我们一直忙于项目与希波·罗勒，库塔巴

艾滋病孤儿学校,并被给予一个讲座在纽约设计周期间,在《大都会》“做好并走向繁荣”发

布会上ICFF(图2 - 2)。我从约翰内斯堡坐了14个小时的飞机，时差还没倒过来，所以说

一些有说服力的话都很困难。

I was completely jet-lagged from a 14-hour flight from Johannesburg, and was

having trouble putting eloquent sentences together. But despite that, after my talk

giving an overview of Project H\'s initiatives and mission, Diana Murphy, the editor

of Metropolis Books, approached me and expressed interest in the content as

potential book the next few months, I put together a proposal,

pitched it to Metropolis, and signed a book deal in August 2008. Coincidentally, I

had met graphic designer extraordinaire Scott Stowell at Compostmodern in

January 2008, who at the time I had accosted, saying If I ever write a book, I want

you to design it. After signing the contract, he was the next phone call I made.

(And as a sidebar for readers: Allan wasn’t just at the top of the list to write the

foreword, he WAS the list).

尽管如此，在我概述了H项目的倡议和使命之后，《大都会图书》的编辑戴安娜·墨菲

(Diana Murphy)找到了我，并表示对这些内容很感兴趣，可能会成为我的书材料。在接下

来的几个月里，我提出了一个建议，把它推销给大都会，并在2008年8月签了书。巧合

的是，2008年1月，我在跨学科的设计会议上遇到了一位杰出的平面设计师Scott Stowell，

当时我和他搭讪，说如果我要写一本书，我想让你来设计。(顺便提醒一下读者:艾伦不仅是

写序言的最重要人选，他也是最重要的人选)。

AC: Thanks for the kind thoughts. Scott is great. The work he did for Good

Magazine is one of the reasons it\'s such a joy to read. But was the book going to

be a chronicle of Project H work thus far? What exactly was Metropolis Books

looking for?

AC:谢谢你的好意。斯科特很棒。他为《好杂志》所做的工作是阅读这本书如此快乐的

原因之一。但是，这本书是否会成为迄今为止H项目的编年史？大都会的书到底在找什么？

EP: Design Revolution isn\'t a monograph of Project H\'s work (because frankly

at the time I signed the book contract, we had less than 10 projects in the works

and certainly not enough to fill an entire book!). Instead, it is a call-to-action for,

and a compendium of product design that empowers. In hindsight, having only

started Project H about 7 months prior to signing the book contract, embarking on

such a huge project was probably a little bit premature, but it gave me the avenue

to more deeply explore some of Project H\'s values and ambitions, and to do so in

away that would hopefully inspire and motivate other product designers to stop

talking about doing good, and to take action with some helpful tools. And having

only 90 days to write it really forced me to hone in on what was important,what I

had learned from launching Project H, what was helpful to share,and what would

inspire. In a sense, it\'s an extended mission statement for Project H.

EP:设计革命并不是H项目工作的专著（因为坦白地说，在我签署图书合同的时候，

我们只有不到10个项目在做，当然不足以填满整本书！）。相反，它是一个行动的号召，

一个授权的产品设计纲要。事后看来，在签订图书合同前7个月才开始实施H项目，着手

实施这样一个庞大的项目可能有点为时过早，但它给了我更深入地探讨H项目的价值观和

抱负的途径，如果能做到这一点，我们希望能够激励和激励其他产品设计师停止谈论做好

事，并使用一些有用的工具来采取行动。只有90天的时间来写这篇文章，真的迫使我去

钻研什么是重要的，我从启动H项目中学到了什么，什么有助于分享，以及什么会激发我

的灵感。从某种意义上说，这是H项目的一个扩展任务声明。

Now that it\'s out (which is still a little unreal), I hope people reference it as a

collection of evidence\" - - making the case for great humanitarian design that

improves life and goes beyond charitable gestures. I also hope they use it as a road

map and toolbox for how to engage in product design for social impact in the

right way. The book says \"product designers stop making stuff and start building

solutions.\" It also says \"design for the greater good isn\'t automatically good

design. We have to be critical and create great systems that work.\"

现在它已经出来了（这仍然有点不真实），我希望人们把它当作一个证据的收集“-

为伟大的人道主义设计，改善生活和超越慈善姿态的理由。我也希望他们能把它作为一个

路线图和工具箱，让他们知道如何以正确的方式参与到产品设计中来，产生社会影响。这

本书说“产品设计师停止制造东西，开始构建解决方案”，还说“为更好的设计而设计并

不是自然而然的好设计。我们必须具有批判性，并创造出有效的系统。”

AC: Evidence is the key word there, isn\'t it? It seems that the ante for designers

of all stripes has been upped lately whether it\'s “design thinking\" or \"social

change “or any other myriad descriptions or expectations for the discipline. But

asking a designer to \"Make Social Change!\" is a daunting thing something of a

different order than \"Make Something Beautiful!\" or Make Something Work

Better!\" Or is it though? (Figure 2-3)

AC：证据是关键词，不是吗？似乎最近，对于设计师们来说，无论是设计思维还是社

会变革，或是对这门学科的任何其他无数的描述或期望，他们的赌注都有所提高。但要求

设计师“进行社会变革！”是一件令人生畏的事情，与“创造美好的事物”有着不同的顺

序或者让事情变得更好！”还是说呢？（图2-3）

EP: It can definitely feel daunting,given the weight of some the issues we’re

tacking,but being a designer should always be (and should have been all along)

about “making something work better” and “making social change.” If design

doesn’t feel like a daunting task with enormous responsibility and potential for

impact, then we aren’t doing it right. I think designers are more than anything,

problem solvers, and to reorient an industry that has in someways strayed from

solving the important problems is the biggest task at hand.

EP：考虑到我们正在解决的一些问题，这肯定会让人感到畏缩，但作为一名设计师应

该始终（并且一直都应该）致力于“让事情变得更好”和“进行社会变革”。如果设计不

觉得是一项艰巨的任务，有着巨大的责任和潜在的影响，那么我们就不是做对了。我认为

设计师最重要的是解决问题的人，对一个在某种程度上偏离了解决重要问题的行业进行重

新定位是当前最大的任务。

The challenge in my mind i twofold: tipping the scales away from designing

artifact to designing impact, and making sure that design for social impact not just

a means to stroke our own egos and add \"greater good\" project to our portfolios.

When you’re designing for health and education and survival, the stakes are

higher, and the design has to be that much more effective.

我心中的挑战有两个方面：从设计人工制品到设计影响力，把尺度从设计人工制品转

向设计影响力，并确保社会影响设计不仅仅是一种打击我们自我的手段，并在我们的投资

组合中增加“更大的好”项目。当你为健康、教育和生存而设计时，风险更大，而且设计

必须更有效。

AC: I think that’s a good lens through which to examine the book. I’m

flipping through the 100 projects now,and it is absolutely true that the stakes juts

seem to be high on each of you talk a little about the criteria for

choosing the items that made i into the book?

AC：我认为这是一个很好的检查这本书的镜头。我正在浏览这100个项目，这是绝对

正确的，每一个项目的风险似乎都很高他们。可以你说了一点关于我入选的标准？

EP Sure! Obviously there’s a lot of work out there, including an increasing

amount of design \"for the greater good\" - some of it better than others, When i

first tarted compiling the list, there were about 250 items in the 8 categories, which

i set forth from the beginning as a way to organize the collection Ultimately, the

collection was whittled down to 115, which as a whole represent a wide spectrum

of projects from consumer goods to DIY developing world systems and

enterprise-based concepts The goal wasn’t to say \"each of these 100 things is a

fantastic and perfect example of empowering design!\" but to show a range that

collectively would provide both precedent and truth is that some of

the products in the book are extremely effective while others are more provocative,

some beautiful, and some purely functional But as i curated the collection, there

needed to be those ebbs and flows, because it is in these spots where designers

have opportunity to raise the bar.

EP:嗯，当然！显然有很多工作要做，包括越来越多的“为了更大的利益”的设计——

其中一些比其他更好，当我第一次开始编制清单时，共有8个类别中的250个项目，我从

一开始就把它们列为最终组织收集的一种方式，这个系列被缩减到115个，作为一个整体，

它代表了一个广泛的项目，从消费品到DIY发展中世界系统和基于企业的概念，其目的并

不是说“这100件东西中的每一件都是授权设计的一个奇妙而完美的例子！”但要展示一

个整体上可以提供先例和灵感。那个事实上，书中的一些产品非常有效，而另一些产品则

更具挑逗性，有些很漂亮，有些纯粹是功能性的，但正如我策划的这个系列，需要有这些

起伏，因为正是在这些地方，设计师有机会提高标准。

AC: Let’s talk about some specific projects: What entries are you particularly

proud to give attention to? I

Car,

，

mean, there are some well-known items in the book -Nike+, Zip

OXO Good Grips, OLPC

etc. - and these are terrific in demonstrating the potential scale

that successful products and services can attain-but it’s nice to give some ink to

others that haven’t yet enjoyed the spotlight, What are some of your favorites?

让我们来谈谈一些具体的项目:哪些项目是你特别值得关注的?我的意思是，书中有一

些很有名的东西——nike +， Zip Car, OXO Good Grips, OLPC等等。——这些都很好

地展示了成功的产品和服务所能达到的潜在规模——但给那些还没有享受聚光灯的人一些

笔墨也不错，你最喜欢的是什么?

EP: I love some of the small stories- the sort of \"matchbook under the

table-leg\" solutions that are not the most aesthetically resolved deign. but make

SO much sense (they are the”duh!”~solutions that you just kick yourself for not

having thought of before). I love the SODIS solar water purification system, which

is simply a set of instructions and plastic water bottles that you place on a roof to

solar-pasteurize water (Figure 2-4). Or the DIY soccer ball tape that looks like a

soccer ball print and turns any wad of paper into a soccer ball (Figure 2-5), These

small things are great because they say to people \"design i only a toll box, now

make it work for you\" They’re \"half objects\" in a way that make everyone a

designer. My other favorites are the educational solutions,things like Montessori

toys or Enabling Device for children with special needs, which probably have not

been shown in design books, but make learning experiences richer and more

creative for children (Figure 2-6.) Lastly. the entire Enterprise section shows how

we can design systems instead of stuff. Each of these Enterprise projects is not

about the materiality, or the product, but what that product’s by product is. For

example, Artecnica’s Design with Conscience products are gorgeous, but the

point of the initiative is to enable and support craft communities through better

production and design. I’m curious what some of your favorites are, too.

我喜欢一些小故事——那种“桌腿下的火柴盒”的解决方案，不是最美观的解决方案。

但它们都很有意义(它们是“哇!你会因为之前没有想到这些解决方法而责怪自己)。我喜欢

SODIS太阳能水净化系统，它只是一套简单的使用说明和塑料瓶，你可以把它们放在屋顶

上进行太阳巴氏杀菌(图2-4)。或DIY足球磁带看起来像一个足球打印和任何叠纸变成一

个足球(图2 - 5),这些小事都是伟大的,因为他们告诉人们“设计我只收费箱,现在让它为你

工作”他们“一半对象”的方式让每个人都一个设计师。另外我最喜欢的是教育解决方案，

比如针对有特殊需要的儿童的蒙特梭利玩具或使能设备，这些可能没有在设计书中出现，

但是让孩子的学习经历更加丰富和富有创造性(图2-6)。最后。整个企业部分展示了我们如

何设计系统而不是东西。每一个企业项目都不是关于产品的实质，而是关于产品的副产品

是什么。例如，Artecnica的良知产品设计是华丽的，但倡议的重点是通过更好的生产和

设计来支持手工艺社区。我也很好奇你最喜欢的是什么。