Design Revolution:
An Interview with Emily Pilloton
设计革命:脆生生的什么
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 cour, and wanted to start at the start.How 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?
投诉信范文Emily Pilloton: As has been the ca with so much of Project H's growth, it was a story of rendipity. 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 crosd 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 Orphans School, and was giving a lecture during New York design week, at Metropolis’ "Make Good and 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
乞丐变王子电视剧(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 ntences 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 expresd interest in the content as potential book material.Over 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’新纪元英语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)。people and animal杂交
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 (becau frankly at the time I signed the book contract, we had less than 10 projects in the works and certainly not enough to fillreduce用法 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 n, 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，一个国学培训授权的pbc是什么意思产品设计纲要。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丘八 unreal), I hope people reference it as a collection of evidence" - - making the ca for great humanitarian design that improves life and goes beyond charitable gestures. I also hope they u 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 ems that the ante for designers of all stripes has been upped lately whether it's “design thinking" or "social change “or any othe
venus什么意思r 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.
