Wicked problems in design thinking and human-centered design approaches

¶ … Wicked Problems in Design Thinking" focuses on the process of and concepts behind design, and how these have changed over the centuries of human intellectual history. Whereas, at first, the concept was subject to categorization within a specific subject field, the author argues that this can no longer be the case. Indeed, since the start of the 20th century, there has been a shift away from compartementalized subject fields towards a greater understanding of design as integrated with other fields of thought. Indeed, the author argues for design as a "liberal art."

Furthermore, Buchanan argues that the refinement and expansion of knowledge cannot extend its usefulness beyond the library or laboratory without an integration of sets of knowledge via communication. Often, the design process, by its nature as an integrative discipline, is one of the ways in which such usefulness can be achieved.

"…knowledge is achieved by a new kind of art directed toward orders of change." Knowledge is no longer only the traditional discipline of study; it has become an active process of re-imagining and contribution.

"Dewey pointed toward science as art." Science has become a discipline focused on designing solutions in response to problems experienced in everyday life.

We tend to identify knowledge with a hardware product, but overlook the art behind it. This is a remnant of the traditional view of knowledge.

Design is a significant factor in shaping all human experience. We all design solutions to our challenges and problems.

Discussion between designers and scientists seldom yield useful reesults. This is because, in many ways, these professionals still see their disciplines as mutually exclusive rather than integrative.

"…all men and women may benefit from an early understanding of the disciplines of design in the contemporary world." The reason for this is that design offers a basis for critical thinking, debate, and integrating the disciplines.

The design process has at its heart a repositioning; where initial purposes and ideas shift position to create new purposes and ideas in finding solutions to problems.

In graphic design, visual communication has become persuasive argumentation.

There are no longer categories of design; they have been replaced by placements identified by signs, things, actions, and thoughts. Meanings are no longer fixed.

Participants in the design process are drawn together by the conception and planning of the artificial.

The importance of the article to the classroom is that the design process is not bound by a particular subject field or discipline. This is what makes it relevant to both the classroom, theory, and to life in more practical terms. In the classroom, we can use the design process to find solutions to set problems. We can find innovative and creative ways to further the discipline within which we study, and to creatively offer arguments that might be more or less persuasive.

For myself, in my personal life, I find myself in agreement with the author. Those who offer design products within any profession or discipline offer arguments in which we as recipiens can be active participants. At the same time, we as human beings in the 21st century are all part of our own design process. We are all designers, finding solutions to pertinent problems on an individual and collective scale. Even something as simple as drawing up a time table for scheduling study and assignments can be regarded as an individualized design process. In this way, we can see design as part of all life and all effort towards finding solutions for better living.

In the video, "Human-Centered Design," featuring David Kelley, various examples are given of how elements of human behavior and personality are included in the design process. The speaker emphasizes that the focus on desiging new products will remain, since these have proven extremely successful in the past and continue to do so in the present. However, there is also a new focus on products designed to cater for interactive and human-centered effects. Several examples are offered to demonstate this.

Change in last 18 years or so -- human-centered design; behaviors and personality are designed into products. This is evident in the various products that are now available on the market, especially in terms of interactive technology.

Man-machine relationship: 3-D models are created for the purpose of communicating ideas. Recpients of messages are an integral and active part of the process.

Prada in New York is an example of human-machine interaction. RF technology is implemented to provide customers with product information; the "magic mirror" includes a three-second delay to allow customers to see the effect of the garment from all angles.

Science Museum in London: Interactive wall provides interactive learning and design opportunity; it is more than simply looking at the product and receiving information; it is also creaing information.

Design features include a recognition of the human element to find solutions to problems. Cubicles are made more worker friendly by including elements like sunlight, the illusion of space by means of wall displays, and the emotional component of a flower that is happy when the worker arrives and sad to see him or her go.

The Spyfish product acknowledges that many more people have or enjoy being on boats than those who would scubadive. The product offers the opportunity to explore the underwater world in as direct a way as possible without in fact going into the water.

Design is also used to address economic and social problems. Dr. Martin Fisher started 19,000 companies in Kenya, creating 30,000 new jobs on the premis that there must be "entrepreneurs everywhere."