“Ninety-five percent of the world’s designers focus all their efforts on developing products and services exclusively for the richest 10 percent of the world’s customers,” said Dr. Paul Polak, president of International Development Enterprises and a member of the exhibition’s advisory council (“Design for the Other 90%” exhibition at the Cooper-Hewitt Museum in New York.). “Nothing less than a revolution in design is needed to reach the other 90 percent,” he added.
這段話，我沒辦法翻得很好，可是感觸很深。會看到這段文章，是因為看到 One Laptop Per Child 這個計畫網站的 news 內容。 OLPC 這台看起來像玩具的筆記電腦，一直很吸引我。
On view at Cooper-Hewitt, National Design Museum through September 23, 2007.
Of the world’s total population of 6.5 billion, 5.8 billion people, or 90%, have little or no access to most of the products and services many of us take for granted; in fact, nearly half do not have regular access to food, clean water, or shelter. Design for the Other 90% explores a growing movement among designers to design low-cost solutions for this “other 90%.” Through partnerships both local and global, individuals and organizations are finding unique ways to address the basic challenges of survival and progress faced by the world’s poor and marginalized.
Designers, engineers, students and professors, architects, and social entrepreneurs from all over the globe are devising cost-effective ways to increase access to food and water, energy, education, healthcare, revenue-generating activities, and affordable transportation for those who most need them. And an increasing number of initiatives are providing solutions for underserved populations in developed countries such as the United States.
This movement has its roots in the 1960s and 1970s, when economists and designers looked to find simple, low-cost solutions to combat poverty. More recently, designers are working directly with end users of their products, emphasizing co-creation to respond to their needs. Many of these projects employ market principles for income generation as a way out of poverty. Poor rural farmers become micro-entrepreneurs, while cottage industries emerge in more urban areas. Some designs are patented to control the quality of their important breakthroughs, while others are open source in nature to allow for easier dissemination and adaptation, locally and internationally.
Encompassing a broad set of modern social and economic concerns, these design innovations often support responsible, sustainable economic policy. They help, rather than exploit, poorer economies; minimize environmental impact; increase social inclusion; improve healthcare at all levels; and advance the quality and accessibility of education. These designers’ voices are passionate, and their points of view range widely on how best to address these important issues. Each object on display tells a story, and provides a window through which we can observe this expanding field. Design for the Other 90% demonstrates how design can be a dynamic force in saving and transforming lives, at home and around the world.