[Abstract] Design with 10%
"Design with 10%"
The gap of experience refers to the disparity that arises in the process of using products and services when designers and users come from different backgrounds and life experiences. Can a designer ever fully understand the user? If it were a product made solely for oneself, perhaps it would be possible. However, in designs intended for others—especially for the majority—it is almost impossible for a designer to completely understand all users. The smaller the experience gap, the higher the level of user satisfaction. This is because the better a designer understands the user’s circumstances and context, the more accurately they can create what the user truly needs. Conversely, when the gap is large, it is difficult to satisfy users. Therefore, the designer’s goal must be to reduce the gap of experience.
The “Moden Bags” project began with the proposal to create tools for people who experience sensory limitations in museum visits. However, it started from a zero-base with no clear ideas about the form or components of the outcome. When the proposal was received, we agreed that users themselves must be included in the process. Thus, from the planning stage, the design process applied a methodology that actively involved users. We also employed rapid prototyping to repeatedly test hypotheses and gather feedback in order to refine the product.
How should users be included in the production process? We organized workshops with about 40 participants—both people with disabilities and non-disabled participants—into three main streams. The first was the stage of discovering and defining problems. Together we discussed the restrictions that participants faced during museum visits and prioritized which issues should be addressed from their perspective. The second stage was a space for narrowing down and developing ideas. Based on insights from the earlier workshop, our team created prototypes and shared them with participants, gathering their opinions to set the final direction. The last stage was a demonstration to validate the results by implementing the proposed ideas. Participants used hard mockups directly, shared their experiences, and provided feedback. After about two months of further refinement, the final product was completed.
Why choose such a participatory design process? Whereas most discussions of design have traditionally been outcome-centered, inclusive design is process-centered. Designing begins with shaping the process itself. In this sense, it is crucial to design together with those who experience sensory limitations. There is a saying, “Design for the 90%.” This perspective sees the world as a pyramid structure, with a clear hierarchy divided by wealth on the Y axis—where the top 10% are above and the remaining 90% below.
In contrast, I propose “Design with the 10%.” Here, the figures 10% and 90% are the same as those mentioned earlier, but the concepts are entirely different. Instead of a vertical axis based on wealth, here we use a horizontal axis. The 10% refers to those located at the far ends of the sensory spectrum when placed on a horizontal scale. Most people are situated in the middle with common sensory abilities, but at the extremes are those who are either less sensitive or highly sensitive. This includes people who cannot freely use both hands, who have visual or hearing impairments, and therefore rely on touch or other senses to understand information. “Design with the 10%” means actively involving these individuals in the design process. They become co-creators. Only then does authenticity emerge. “Design with the 10%” does not push the experiences of the few to the margins, but instead takes them as the starting point to create universally empathetic outcomes. And this, I believe, is the direction Seoul should pursue.
Byungsu Kim is the CEO of Missionit Co.,ltd where he researches user experiences of people who have been historically underserved, including persons with disabilities and older adults. He defines design not as something focused solely on aesthetics, but as something accessible to everyone, regardless of physical or cognitive abilities.
As publisher and editor-in-chief, he has led the MSV Social Impact Series since 2021, based on field observations of people with disabilities and in-depth expert interviews. The series explores contemporary social issues—such as mobility for people with disabilities, play for children with developmental disabilities, safety in developing countries, digital accessibility for seniors, and inclusive elements of libraries—through the lens of inclusive design. The MSV Social Impact Series received an award at the 2023 Seoul Universal Design Awards.
As an exhibiting artist, Kim has participated in “Ten Eyes” (Busan Museum of Contemporary Art, 2025) and “Off to the Museum” (Seoul Museum of Art, 2025), and has directed and designed exhibitions including “Play for All” (2021), “Language Wall” (2023), and “Learning and Growth for the Visually Impaired” (2024). He previously worked as a designer at Samsung Electronics and studied Social Entrepreneurship in London.
He is the author of Design for All is (2025).
