“The easy problems have been solved. Designing systems today is difficult because there is no consensus on what the problems are, let alone how to resolve them.”
Each author in this segment argues for design thinking or creativity’s importance in the larger world. The authors’ positions seem to build on each other. Rittel talks about where it came from, Buchanan talks about what it looks like in the world. Paccione, DeBono and Cross take things inside, and noodle on how and where it resides in the brain. They also ponder the whys, whethers and hows about sharing it. Finally, Wyatt takes a ‘what have you done for me lately’ approach and gives us the lowdown on how to share design thinking – but with a mercenary hook.
Rittel identified and named wicked problems, that little thing we all came to AC4D to work on this year. He asks us not to consider what is the “right” thing to do, but the good thing to do.
Buchanan takes Rittel’s lead and talks about what “design thinking” looks like. He gives us a framework, the four orders of design, that push us to consider where and how to apply design thinking. He gives a nod to visual and material design, but also reminds us to consider service design and complex system design as suitable targets for creativity. He evangelizes design thinking as an apt approach to any subject matter, also reminding us that design is inherently cross disciplinary, and indicates that it draws on many kinds of intelligence and knowledge.
Pacione makes a case for design literacy – not just design thinking, telling us that design will have its greatest impact when it is no longer perceived to be in the hands of people who are professional designers and is put back into the hands of everyone. However he states that there are those that are already familiar with the methods of what he considers to be a higher state of design thinking in which he categorizes design and design thinkers into the “Master” or “Iterator of others ideas” and the “Virtuoso” the true design innovator. His methods are laid out in a series of situational diagrams that he uses to back up this theory.
DeBono takes creativity seriously enough that he developed entire systems to alter our thinking patterns, provoke movement, and evaluate their effectiveness. Interestingly enough, one of the huge examples he uses is that of humor to incite creativity, to use the pattern of lateral thinking as the actual process. He insinuates that traditional modes of thinking are artificial, learned, and so distinct that they can literally be put on and taken off as easily as a hat, with his 6 colored hat system of idea organization. Insisting that these tactics can used by anyone he regals us with tales of success from a large telephone corporation and the organizer of the 1984 Olympics. Also sure to remind us he sold them all many of his books.
Cross tells it’s not just inherent, there are ways to polish it up, improve literacy, develop fluency, to put ideas on paper, sketch and iterate to form re-solutions to any problem. For Cross, it’s a mode of thinking, something holistic and vast, not a set of be-hatted party tricks to pull out in front of Japanese businessman (DeBono, p.15).
Design is too important to be left to designers, it should be a discipline in itself, a cultivable skill, possessed to some extent by everyone.
Wyatt is less concerned with the ineffable nature of design thinking than the output, and what it will achieve for her and her business. While she encourages all to utilize design thinking, (even publishing a free download!) she seems to believe that the important work is best left to the designers. She’s strategic in choosing how deeply she steeps regular people in design thinking, and is a bit of a tease. She wants to give customers just enough information so they have a category to understand her greatness, but not enough to be able to do what she does without her.