Design thinking refers to the creative strategies that designers use during the design process. It has also been developed as an approach to solve problems outside of professional design practices, such as in business and social contexts.
Video Design thinking
The origin of the term
The origin of design thinking as a special approach to solving problems creatively lies in the development of creativity techniques in the 1950s and the development of new design methods in the 1960s. L. Bruce Archer was probably the first author to use the term 'design thinking' in his book "Methodist Methods for Designers" (1965). The idea of ​​design as a "way of thinking" in science can be traced to Herbert A. Simon's 1969 book The Sciences of the Artificial, and in the design engineering for Robert McKim's 1973 book Experience in Visual Thinking . Book 1980 Bryan Lawson How Designers Think , especially those discussing design in architecture, started the process of generalizing the concept of design thinking. A 1982 article by Nigel Cross on Known ways of knowing establishes some intrinsic quality and design thinking skills that also make it relevant in public education and thus to a wider audience. 1987 Peter Rowe Design Thinking , which describes the methods and approaches used by architects and urban planners, is a significant early use of the term in the design research literature. Rolf Faste expanded McKim's work at Stanford University in the 1980s and 1990s, teaching "design thinking as a method of creative action." Design thinking was adapted for business purposes by Stanford Faste colleagues at David M. Kelley, who founded IDEO design consultant in 1991. Richard Buchanan's 1992 article "The Wicked Problem in Design Thinking" expressed a broader view of design thinking as addressing human attention which is hard through design.
Maps Design thinking
Thinking solutions-focused
Thinking design is a method for solving practical and creative problems. It is a solution-focused thought form with the intent of producing a constructive future outcome.
Design thinking identifies and investigates known and ambiguous aspects of the current situation in an attempt to discover the parameters and set of alternative solutions that can lead to one or more satisfactory goals. Because design thinking is iterative, intermediate "solutions" are potential starting points of alternative pathways, allowing for redefinition of initial problems, in the process of co-evolution of problems and solutions.
Solution-based vs. problem-based
In 1979 Bryan Lawson published the results of an empirical study to investigate different problem-solving approaches from designers and scientists. He took two groups of students last year in architecture and graduate students of science - and asked them to create a one-tier structure of a set of colored blocks. The structure perimeter should optimize red or blue; However, there are unspecified rules that govern the placement and relationship of multiple blocks. Lawson found that:
The scientists adopted the technique of trying a series of designs that were used as many blocks and combinations of different blocks as much as possible as quickly as possible. Thus they try to maximize the information available to them about the allowed combinations. If they can find rules governing which block combinations are allowed, they can look for settings that will optimize the necessary colors around the layout. [Focused issues] Instead, architects choose their blocks to achieve the right perimeter. If this does not prove to be an acceptable combination, then the next most preferred color block combination will be replaced and so on until an acceptable solution is found. [solution-focused]
Nigel Cross concludes that Lawson's research shows that the problem of scientists is solved by analysis, while the designer's problem is solved by synthesis.
Designing thoughts as a process for troubleshooting
Unlike analytical thinking, design thinking embraces the idea of ​​"building up", with little or no extent of its extent during the "brainstorming" phase. It helps reduce the fear of failure in the participant (s) and encourages input and participation from various sources in the ideation phase. The phrase "thinking out of the box" has been created to describe one purpose of the brainstorming phase and is encouraged, as it can help discover hidden elements and ambiguities in situations and find potentially faulty assumptions.
One version of the design thinking process has seven stages: define, research, ideate, prototype, select, implement and learn . In these seven steps, the problem can be framed, the right questions can be asked, more ideas can be made, and the best answer can be chosen. The steps are not linear; can occur simultaneously and repeated. A simpler expression of this process is the phrase Robert McKim "Express-Test-Cycle". A description of five alternative phases of this process is described by Christoph Meinel and Larry Leifer: (re) defining the problem, need to find and measure, insulate, build, test .
The path through these process steps is not completely circular. Meinel and Leifer stated: "Although the stages are quite simple, the adaptive skills necessary to choose the right inflection point and the next appropriate stage are high-level intellectual activity that requires practice and can be learned."
Malware
Thinking design is especially useful when handling what Horst Rittel calls 'bad' problems, which are unclear or complicated (as opposed to evil in the sense of evil). With unclear problems, neither the problem nor the solution is known at the beginning of the problem-solving exercise. This is contrary to a "benign" or "well defined" problem where the problem is clear, and the solution is available through some technical knowledge.
Design thinking attributes
Principles
Christoph Meinel and Larry Leifer, of the HPI-Stanford Design Thought Program, laid out four principles for successful implementation of design thinking:
- The human rule , which states that all design activities are essentially social, and any social innovation will bring us back to the 'human-centered point of view'.
- The ambiguity rules, in which design thinkers must maintain ambiguity by experimenting on their limits of knowledge and abilities, allowing the freedom to see things differently.
- Redesign rule , where all designs are redesigned; this comes as a result of changes in technology and social circumstances but has previously been solved, the unchanging human need.
- Tangibility rule ; concepts that create real ideas always facilitate communication and allow designers to treat prototypes as 'communication mediums'.
When "a-ha"
"A-ha moment" is a moment in which suddenly there is a clear front line. It is a point in a cycle where different syntheses and ideas, analyzes and convergent thinking, and the nature of all unified issues and appropriate resolution have been captured. Before this point, the process may be vague, blurred and incorrect. At this point, the way forward is so clear that in retrospect it seems strange that it takes so long to recognize it. After this point, the focus becomes more and more clear when the final product or service is built.
Methods and processes
Design methods and design processes are often used interchangeably, but there is a significant difference between the two.
Design methods are techniques, rules, or ways of doing things that someone uses in the design discipline. Methods for design thinking include interviewing, creating user profiles, viewing other existing solutions, creating prototypes, mind mapping, asking questions like five why, drawing problem trees (or publishing maps), and situational analysis.
The design process is the sequence of action phases used in the design. Due to the parallel and iterative nature of the design, there are many different paths through the phase. This is part of the design thinking the reasons may seem "fuzzy" or "ambiguous" when compared with analytical methods of science and engineering. For example, Koberg and Bagnall wrote The Universal Traveler in 1972 that presented a circular seven-step, seven-step, system-wide approach to problem solving in everyday life that can be followed in a linear or in-loop feedback. Many other design process expressions and models have been proposed. Free eBook Hugh Dubberly How to Design: A Compendium of Models summarizes a large number of design process models.
Use of visual analogy in design thinking and learning
Unclear problems often contain a higher and less obvious relationship. Design thinking can overcome this through the use of analogies. Understanding of expected results, or lack of domain-related knowledge for the task, can be developed by connecting various internal representations, such as images, to develop an understanding of elements of an unclear or undefined situation. This process involves several complex cognitive mechanisms, since design assignments often have elements in some cognitive domains - visual, math, hearing or tactile - that require the use of many "languages", such as visual thinking.
Design language
Conventionally, designers communicate mostly in visual language or objects. Symbols, marks, and metaphors are used through sketch media, diagrams and technical drawings to translate abstract requirements into concrete objects. The way designers communicate, then, is through an understanding of how to codify these design requirements to produce a built product.
Design thinking process
As an approach, design thinking touches innate human capacities missed by more conventional problem-solving practices. This process is best regarded as an overlapping spatial system rather than a sequential order of steps: inspiration, ideas, and implementation, or alternatively: to empathize, define, idealize, create prototypes and test. Projects may reverse through inspiration, ideas, and implementation more than once when the team purifies their ideas and explores new directions. Therefore, design thinking can be chaotic, but during the life of a project, participants see that the process makes sense and achieves results, although the form is different from the linear, linear-based process usually done by the organization.
Inspiration
Generally, the design process begins with the inspiration phase: understanding problems or opportunities. This understanding can be briefly documented covering the constraints that give the project team a framework from which to start, the benchmarks by which they can measure progress, and a set of objectives to be realized - such as price points, available technology, and market segments.
Empathy
Both Tom and David Kelley have stated that Thinking Design begins with empathy. [1] Designers must approach users with the goal of understanding their wants and needs, what might make their lives easier and more enjoyable and how technology can be useful to them. The design of empathy goes beyond physical ergonomics to include understanding of the psychological and emotional needs of people - the way they do things, why and how they think and feel about the world, and what it means to them.
Ideas: divergent and convergent thinking
Ideas are the generation of ideas. Mentally it is a process of "walking wide" in terms of concepts and results. This process is characterized by the turn of divergent and convergent thinking, typical of the design thinking process. To achieve different thinking, it is important to have a diverse group of people involved in the process. Multidisciplinary people - architects who have studied psychology, artists with an MBA, or engineers with marketing experience - often demonstrate this quality. They are people with capacities and dispositions for interdisciplinary collaboration.
Interdisciplinary teams usually move to a structured brainstorming process with "thinking out of the box". During this process, participants should not be assessed and participants should take a generative role. Participants are encouraged to generate as many ideas as possible and explore new alternatives. Good ideas naturally rise up, while bad ones fall early. Each team member must have deep skills that enable him to make a real contribution to the outcome, and be empathetic to others and to discipline beyond their own ability. It tends to be expressed as openness, curiosity, optimism, a tendency toward learning by doing, and experimentation. Convergent thinking, on the other hand, allows to enlarge and focus on different proposals to choose the best option, which allows continuation of the design thinking process to achieve the ultimate goal. After collecting many ideas, a team undergoes a synthesis process in which it must translate ideas into insights that can lead to solutions or opportunities for change. This approach helps to multiply options to create different choices and views about human behavior and determine which direction the process should proceed. This may be a vision of a new product offering, or a choice between different ways of creating an interactive experience.
Condition of complexity and mindset
More choice means more complexity, which can influence organizational decisions to limit the obvious and growing favorable choices. While this trend may be more efficient in the short run, it tends to make the organization conservative and inflexible in the long run. Divergent thinking is a route, not a barrier, an innovation, and a way to stray is to define the mindset of conditions in which people are encouraged to generate ideas. The most prominent themes fall into three common traits: open-minded collaboration, courage, and faith. Open minded refers to the concept of being opened and accepting new ideas and contributions. Courage is also fundamental because innovative ideas are characterized by a high risk of failure. It is possible to face failure, a very important element to correct in the right way. In addition, belief is a mind-set that allows to process or even ideas if there are obstacles or obstacles.
Implementation and prototype
The third space of the design thinking process is implementation, when the best ideas generated during the ideation are converted into something concrete. The essence of the implementation process is prototyping: turning ideas into actual products and services that are then tested, repeated, and refined. A prototype helps collect feedback and improve ideas. Prototypes accelerate the innovation process because it allows one to understand the strengths and weaknesses of new solutions. Prototypes are essential for products and services aimed at developing countries, where lack of infrastructure, retail chains, communication networks, literacy, and other important parts of the system often make it difficult to design new products and services. Doing prototypes, testing, "failing many times but quickly and cheaply to succeed" is a different method that exists to test the solution, but previous users can provide feedback, which is lower cost to the organization and higher is the adaptability level of the solution for customer needs.
Differences from science and humanities
Although many areas of design have been categorized as lies between science and art and the humanities, design can be seen as a way of understanding the world, based on solution-based solutions, problem-building, synthesis, and conformity in the built environment..
One of the first design science theorists, John Chris Jones, postulated that designs differed from art, science, and mathematics in the 1970s. Responding to the question "Is designing art, science or mathematical form?" Jones responded:
The main point of difference is timing . Both the artist and the scientist operate in the physical world as it is in present (whether it is real or symbolic), while the mathematician operates on an abstract relationship independent of the historical time . Designers, on the other hand, are forever bound to treat as real ones that are only in the future imaginative and must determine the way in which things are foreseen can be made to exist.
Nigel Cross built on Bruce Archer's early work to show the difference between humanities, science, and design in his paper "Designerly Ways of Knowing". He observed that in the science of phenomena centers of study around the natural world, the exact methods of controlled experimentation, classification, and analysis. In this culture, objectivity, rationality, neutrality, and attention to "truth" are greatly appreciated. In the humanities, analogies, metaphors, and evaluations serve as a study method of human experience. These cultural values ​​include subjectivity, imagination, commitment, and attention to "justice." Design, however, relates to the artificial world and uses modeling, pattern formation, and synthesis to study it. In design, practicality, ingenuity, empathy, and concern for "propriety" are core values.
Thinking design in business and society
Historically, designers tend to be involved only in the later part of the new product development process, focusing their attention on aesthetics and product functionality. Many businesses and other organizations are now recognizing the use of embed designs as productive assets across organizational policies and practices, and design thinking has been used to help different types of businesses and social organizations to be more constructive and innovative. In the 2000s there was a significant growth of interest in design thinking as a catalyst for gaining competitive advantage in business, but the doubts surrounding design thinking as a panacea for success have also been disclosed. Designers bring their methods into business either by taking part in the early stages of the product and service development process or by training others to use design methods and to build innovative thinking skills within the organization.
Design thinking in education
All forms of professional design education can be assumed to develop design thinking in students, even if only implicitly, but design thinking is also now explicitly taught in general as well as professional education, in all sectors of education. Designs as subjects were introduced into the curriculum of secondary school 'in the UK in the 1970s, gradually replacing and/or developing from some traditional arts and crafts subjects, and increasingly related to technology studies. These developments sparked research-related studies in education and design.
In the K-12 sector, design thinking is used to promote creative thinking, teamwork, and student responsibility for learning. New courses in design thinking have also been introduced at university level, especially those related to business studies and innovation. The famous early courses of this type were introduced at Stanford University in 2003, the Design Institute of Hasso Plattner, known as d.school. It attracts students from several Stanford departments, including engineering, medicine, business, law, and education, utilizing the d.school approach to designing thought to develop innovative solutions to problems. Also, the REDLab group, from the Stanford Graduate School of Education, conducts research in design thinking in K-12, secondary, and post-secondary settings.
History time history
See also
References
Further reading
- Cross, Nigel. Design Thinking: Understanding How Designers Think and Work. Oxford UK and New York: Berg, 2011.
- Martin, Roger L. Business Design: Why Design Thinking is the Next Competitive Advantage , Harvard Business Press, 2009.
- Mootee, Idris. Design Thinking for Strategic Innovation . Wiley, 2013.
- In Russo, Stefanie. "Understanding the behavior of design thinking in complex environments". PhD Thesis, Swinburne University, 2016
- Faste, Rolf. "Human Challenges in Technical Design." International Engineering Education Journal , vol 17, 2001.
- Kelly, Tom. Ten Faces of Innovation. London: Profile, 2006.
- Lawson, Bryan. How Designers Think. Oxford UK: Architectural Press/Elsevier, 2006.
- Liedtka, Jeanne. Designing for Growth: Design Thinking Tools For Managers. Columbia University Press, 2011, ISBNÃ, 0-231-15838-6
- Liedtka, Jeanne. Resolving Problems with Design Thinking: Ten Job Stories. Columbia University Press, 2013, ISBNÃ, 0-231-16356-8
- Lockwood, Thomas. Design Thinking: Integrating Innovation, Customer Experience, and Brand Value. New York, NY: Allworth, 2010.
- Lupton, Ellen. Graphic Design Thinking: Beyond Brainstorming. New York, NY: Princeton Architectural Press, 2011. ISBN: 978-1-56898-760-6.
- Martin, Roger L. The Opposable Mind: How Successful Leaders Win Through Integrative Thinking. Boston, MA: Harvard Business School, 2007.
- Nelson, George. How to See: A Guide to Reading Our Man-Made Environment. San Francisco, CA: Design within Reach, 2006.
- Pink, Daniel H. New Thought: Why the Right Brain Will Master the Future. New York: Riverhead, 2006.
- Plattner, Hasso et al. Design Thinking: Understanding, Fixing, Applying . Berlin; Heidelberg: Springer, 2010.
- Rittel, Horst, and Melvin Webber. "The Dilemma in General Planning Theory." Policy Science 4.2 (1973): 155-69.
- Sachse, Pierre; Specker, Adrian: Design Thinking: Analyzing und UnterstÃÆ'¼tzung konstruktiver EntwurfstÃÆ'¤tigkeiten. Zurich: vdf ETH, 1999.
- SchÃÆ'¶n, Donald. Reflective Practitioner: The Professional Way of Thinking in Action. New York: Basic Book, 1983.
- SchÃÆ'¶n, Donald. Educating Reflective Practitioners. San Francisco: Jossey-Bass Inc., 1987.
Source of the article : Wikipedia
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