the aesthetic knowledge problem of problem solving with design thinking

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The Aesthetic Knowledge Problem of Problem-Solving With Design Thinking

Journal of Management Inquiry

In this essay we examine how aesthetic knowledge defines design thinking and also poses a challenge for many organizational systems. Design thinking is one problem-solving approach that addresses problems where multiple and conflicting interests must be met by perceiving the holistic quality of the interconnections across such interest. However, there has not been a clear declaration of what is at the core of design thinking. The direct engagement of the bodily senses in design thinking methods points to the importance of aesthetic knowledge for problem definition and solution generation. Organizational systems, however, often occlude the role of the body at work, and therefore of aesthetic knowledge. Drawing on structurationist theory, we make suggestions for how organizational systems might adapt in order to more effectively generate and use aesthetic knowledge and tackle increasingly complex problems.

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The usual dictionary definition of aesthetics as "a branch of philosophy dealing with the nature of art, beauty, and taste, and with the creation and appreciation of beauty.”1 is in need of broader characterization, one capable of making the creation and appreciation of pleasurable things available to help people improve their lives. A more purposeful and useful conceptualization is essential because design is, in essence, the application of aesthetics to resolve needs or desires in satisfying and pleasurable ways. This paper suggests a theory based approach to aesthetics that puts it in service to the improvement of pleasure, satisfaction, and sensibilities in human experience. Keywords: Aesthetics, design, theory, beauty, felt experience, affective meaning

The design of artifacts and how designers make them have garnered renewed societal interest as interactive technologies create new opportunities and challenges. The world we experience has never before been as diverse, socially and materially, or as malleable as it now. Increased computation and interactivity are changing the appearance, evolution, and interactions of the personal and collective artifacts that shape our everyday experiences, family and community life, and learning and work activity. These digital artifacts increasingly leverage sensing and physical interaction to provide information at our fingertips and connect us to people around the globe. This new generation of digital technologies gives people a great deal of discretion as to what artifacts and services they use and how they use them (Grudin, 2005). Adoption and appropriation of new digital artifacts is increasingly part of everyday life, and this change draws our attention-and sense of curiosity-to how these artifacts are designed. When we talk about designing, we share Herbert Simon's (1969) broad view that ''everyone designs who devises courses of action aimed at changing existing situations into preferred ones'' (p. 129). The articles in this special issue can usefully be read with that broad view of design. That said, we and the authors focus on design professionals, students, and researchers as canonical instances. As computational artifacts take on new shapes and play new roles, so do designers (Moggridge, 2007). Designers of digital artifacts face more complex constraints than, say, furniture designers a century ago. Their work must integrate diverse considerations, physical and mechanical engineering, software engineering, user interface design and user experience, and aesthetics, as well as diverse culture and human values (Dreyfuss, 1955). The position of design and designers at the nexus of so many complex

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From the 1980s, design thinking has emerged in companies as a method for practical and creative problem solving, based on designers' way of thinking, integrated into a rational and iterative model to accompany the process. In companies, design thinking helped valuing creative teamwork, though not necessarily professional designers' expertise. By pointing out two blind spots in design thinking models, as currently understood and implemented, this paper aims at shedding light on two rarely described traits of designers' self. The first relies in problem framing, a breaking point that deeply escapes determinism. The second blind spot questions the post project process. We thus seek to portray designers' singularity, in order to stimulate critical reflection and encourage the opening-up to design culture. Companies and organizations willing to make the most of designers' expertise would gain acknowledging their critical heteronomy to foster innovation based on strong and disruptive visions, beyond an out-of-date problem solving approach to design.

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The Aesthetic Knowledge Problem of Problem-Solving With Design Thinking

Published Jul 1, 2015  ·  J. Stephens , B. Boland

Journal of Management Inquiry

Influential Citations  

In this essay, we examine how aesthetic knowledge defines design thinking and also poses a challenge for many organizational systems. Design thinking is one problem-solving approach that addresses problems where multiple and conflicting interests must be met by perceiving the holistic quality of the interconnections across such interests. However, there has not been a clear declaration of what is at the core of design thinking. The direct engagement of the bodily senses in design-thinking methods points to the importance of aesthetic knowledge for problem definition and solution generation. Organizational systems, however, often occlude the role of the body at work, and therefore of aesthetic knowledge. Drawing on structurationist theory, we make suggestions for how organizational systems might adapt to more effectively generate and use aesthetic knowledge and tackle increasingly complex problems.

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Aesthetics in Design Thinking

Both Design Thinking business discourse and research relies heavily on the problem-solution dichotomy for explaining what design is. The emphasis is given to go beyond the common-sense notion of design as form shaping and open new spaces for design in science and business.

The aesthetics of form shaping is not entirely rejected in this turn, but reduced to an aspect of the so-called solution, among others. In this view, the  aesthetical sensibility  becomes a secondary skill in design thinking, under the unique problem solving approach. Such a view makes it easier to generalize a design process and avoid the prejudice of more “serious” areas such as science and business.

I believe this is like throwing away the baby with the dirty water. Aesthetical sensibility is the key to design problem solving. Here is why.

Design thinking proponenets argues that design problems don’t have a right or wrong answer because there are no general criteria for assessment. Each design process happens in a context where there is specific criteria, but this criteria is not always clear, since it depends on subjective judgments. Then, there are multiple solutions to a single problem and both problem and criteria can be revised when a solution comes out. Bruce Lawson explains  this as a circular process in which problem and solutions are constantly analyzed, synthesized and evaluated.

How do designers judge among all these possibilities of problems and solutions? Here comes the aesthetical sensibility. The aesthetic judgment is not only about visual form, but also, and primarily, about attitude. The aestheticization of politics , wherein design played a crucial role, ethics became intertwined with aesthetics in the everyday life. That’s why great designers are so admired; they become proficient at doing admirable ethical-aesthetical judgment that others wants to buy for themselves.

What would be of Apple without the ethical-aesthetical leadership of Steve Jobs?

Jack Schulze, a design practioner, wrote an interesting comment about his work :

Some people (they are wrong) say design is about solving problems. Obviously designers do solve problems, but then so do dentists. Design is about cultural invention.

The industrial culture demands innovation, yet not every novelty is accepted. Designers must be aware of trends but not stick completely to it. Designer’s role in the society is to update the material culture to be in tune with current social dynamics. For a more profound discussion on that, I suggest Cameron Tonkiwise critics on design thinking .

there is an expertise to designing which involves reading people’s taste regimes for their practice style potentials, or vice versa. A crucial part of designing is being sensitive to overlapping tastes, the habitus that enables those overlaps, and so the practice dispositions of people with such habitus. Designers are concerned with style, because style is a translator of people’s structured choices into action propensities.

Of course this claim adds complexity to design thinking, but if we frame this discussion as a cultural literacy issue , it may add extra fun to it.

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Design as the Art of Elegant Problem-Solving

Design is often associated with beauty , aesthetics , and visual appeal .

And while these elements are undoubtedly important, design is far more than just making things look pretty. At its core, design is about solving problems - but doing so in a way that's both effective and visually pleasing.

It's about finding the perfect balance between form and function , creating solutions that are not only useful but also delightful to use.

The Marriage of Beauty and Brains

Design thinking , a human-centered approach to problem-solving, embodies this philosophy. It emphasizes empathy, collaboration, and experimentation to develop solutions that truly meet the needs of users.

Here's how design bridges the gap between aesthetics and functionality:

• Understanding User Needs: Good design begins with a deep understanding of the people it serves. By empathizing with their needs, desires, and pain points, designers can create solutions that truly resonate.
• Defining the Problem: Clearly articulating the problem is essential for finding effective solutions. Design thinking encourages a thorough analysis of the problem, taking into account all its nuances and complexities.
• Ideation and Iteration: Design is an iterative process. It involves generating multiple ideas, prototyping, testing, and refining until the optimal solution is found. This process allows for both creativity and practicality to flourish.
• Balancing Form and Function: The best designs strike a balance between aesthetics and functionality. They are visually appealing, easy to use, and effectively solve the problem at hand.

Examples of Design Thinking in Action

Consider the smartphone. It's a marvel of design thinking , combining sleek aesthetics with powerful functionality . The intuitive interface, ergonomic design, and seamless integration of hardware and software make it a joy to use.

Or think about a well-designed chair. It not only looks inviting but also provides comfort and support . The designer has carefully considered the materials, ergonomics, and aesthetics to create a product that is both beautiful and functional.

The Art of Elegant Problem-Solving

Design is an art, a science, and a way of thinking .

It's about finding creative solutions to complex problems while ensuring those solutions are visually appealing and user-friendly. When done right, design can transform products, services, and experiences, making them more enjoyable, efficient, and meaningful.

So, the next time you admire a well-designed product, remember that it's not just about the looks.

It's about the thought, the process, and the problem-solving that went into creating something that is both beautiful and functional.

Fill out the form or press this big "Book a Call" button—your choice.

The Role of Design Thinking in Problem-solving

Introduction

Architecture is both an art and a science that involves designing spaces that not only inspire but also serve a purpose. It has always been a reflection of human culture and technology. However, in the 21st century , architecture faces unique challenges that require innovative problem-solving approaches. One of the approaches that are gaining prominence in the field is Design Thinking. This article explores the evolving role of Design Thinking in architecture. It highlights the approach’s unique ability to create spaces that are not only functional and aesthetically pleasing but also deeply human-centric and sustainable.

Design Thinking in Architecture

Design Thinking is a problem-solving methodology rooted in empathy, creativity, and an iterative process. It encourages designers to step into the shoes of the end-users, understand their needs, and iterate on solutions to address complex challenges. While this approach has found application across various disciplines, including product design and software development , it is uniquely suited to architecture, where the interaction between humans and their built environment is paramount.

Design Thinking places humans at the core of the architectural process . It promotes the idea that buildings and spaces should enhance the quality of life for their users, addressing their emotional, social, and functional needs. For architects, this means stepping out of their perspectives and engaging with the people who will inhabit the spaces they design.

In architecture, solving complex problems often requires a multidisciplinary approach. Design Thinking encourages architects to collaborate with experts from various fields, such as engineers, sociologists, and environmental specialists. This collaborative effort ensures that architectural solutions are technically sound, sociologically relevant, and environmentally responsible.

Design Thinking in architecture involves an iterative process, where architects create prototypes and mock-ups to test and refine their ideas. This approach allows architects to catch design flaws early, leading to more cost-effective and efficient construction.

As the world grapples with environmental issues, sustainable design is a pressing concern in architecture. Design Thinking encourages architects to integrate eco-friendly practices and materials into their designs. This can include optimizing natural light, using recycled materials, and implementing energy-efficient systems.

Each architectural project exists within a specific context, be it a city, rural area, or cultural landscape. Design Thinking emphasizes that architects should create designs that respond to and enhance the unique features of their surroundings. This approach helps preserve cultural and environmental diversity.

Design Thinking in Action: Case Studies

Here are a few case studies where this methodology has been employed to create exceptional spaces.

The Eden Project (United Kingdom)

The Eden Project, located in Cornwall, United Kingdom , is an iconic example of sustainable and human-centric architectural design. It is a series of geodesic domes housing distinct biomes, such as rainforests and Mediterranean environments. The design team behind the project used Design Thinking to create an experience that brings visitors into direct contact with various ecosystems. They conducted extensive user research to understand how people interacted with nature and how to make the experience educational and memorable.

Through collaboration with botanists, engineers, and environmentalists, the architects ensured that the biomes were not just visually stunning but also environmentally responsible. The result is a living laboratory that educates visitors about the importance of biodiversity and environmental conservation while providing an engaging and immersive experience.

The High Line (New York City, USA)

The High Line, an elevated urban park in New York City , is a prime example of adaptive reuse and urban regeneration achieved through Design Thinking. Built on a disused railway line, this project transformed an industrial relic into a thriving green space. Design Thinking was integral in understanding the needs and aspirations of the local community.

Architects collaborated with landscape designers, urban planners, and community stakeholders to create a park that reflects the neighborhood’s character and desires. They conducted extensive user research to determine the types of amenities and activities that would be most appreciated by the community. The result is a public space that caters to diverse user groups, offering art installations, gardens, and seating areas that encourage social interaction and relaxation.

The Bullitt Center (Seattle, USA)

The Bullitt Center in Seattle is a pioneering example of sustainable architecture . Dubbed the “greenest commercial building in the world,” it was designed to meet the Living Building Challenge, one of the most rigorous sustainability certifications. The design team, guided by Design Thinking principles, prioritized environmental responsibility at every stage of the project.

The architects worked closely with engineers, energy experts, and environmentalists to create a building that generates more energy than it consumes. Its rainwater harvesting, solar panels, and energy-efficient design make it a model of sustainability. Additionally, the user-centric approach is evident in the building’s amenities, which include plenty of natural light, comfortable workspaces, and features that enhance the well-being of its occupants.

The Future of Architecture and Design Thinking

Design Thinking in architecture has come a long way, but its journey is far from over. Looking ahead, we can anticipate several exciting trends and challenges in the evolving relationship between Design Thinking and architecture.

Smart Cities and Technological Integration

As cities continue to grow and become more complex, architects will need to leverage Design Thinking to create spaces that are responsive to the needs of smart cities. The integration of technology, such as the Internet of Things (IoT), will offer opportunities to design buildings and urban environments that can adapt to changing conditions in real time. Design Thinking will play a crucial role in ensuring that technology is harnessed to enhance human well-being and sustainability.

Resilient and Climate-Adaptive Design

Design Thinking will be instrumental in addressing the challenges of climate change. Architects will need to design buildings and spaces that are resilient to extreme weather events and can mitigate environmental impacts. This will require a deep understanding of user needs and a commitment to creating spaces that prioritize safety and well-being.

Sustainable Design as Standard Practice

Sustainable design is no longer a trend but a necessity. Design Thinking will continue to drive architects to prioritize eco-friendly materials, energy efficiency , and sustainable practices in their projects. This approach will lead to more environmentally responsible buildings and urban developments.

Augmented and Virtual Reality (AR/VR) for Design Visualization

Design Thinking will benefit from the integration of AR and VR technologies for better visualization and collaboration. These technologies will allow architects and clients to immerse themselves in virtual representations of architectural designs, enabling more interactive and user-focused design processes.

Biophilic Design and Wellness Architecture

The concept of biophilic design, which incorporates natural elements into architectural spaces, will gain momentum. Design Thinking will play a vital role in ensuring that biophilic elements are not just aesthetic but also enhance the physical and mental well-being of building occupants.

Design Thinking has fundamentally altered the way architects approach problem-solving and design. It has ushered in an era where architecture is not just about creating functional spaces but also enriching human experiences and respecting the environment. The case studies of the Eden Project, the High Line , and the Bullitt Center illustrate how Design Thinking can lead to transformative architectural solutions.

As architects continue to face complex challenges in a rapidly changing world, Design Thinking will be an indispensable tool for creating spaces that are not just visually striking but also user-centric, sustainable , and resilient . In this ongoing journey, Design Thinking will ensure that architecture remains a dynamic and empathetic discipline, one that evolves to meet the diverse and evolving needs of society while preserving the art and science of designing the spaces we call home.

References:

• Design Thinking for Strategic Innovation: An Executive’s Guide to Disruptive Thinking by Tim Brown (2009)
• mart Cities: A Taxonomy, Framework, and Current State of the Art by Jaydip Sen, Subhrajit Basu, and Debashish Deb (2020)
• Augmented Reality in Architecture: A Review by Luis Miguel Correia, Nuno Jardim Nunes, and Pedro Henrique Amado (2019)
• Virtual Reality in Architecture: A Review of the Literature by Yujie Fan, Chunming Hu, and Yanzhi Wang (2021)

Hello! This is Zeba, a student pursuing her passion in the field of design and architecture. With the heart of an explorer always seeking new experiences that inspire her, she appreciates soaking in the beauty of the world around her and weaving words that stir the imagination. She truly believes that as architects it is our duty to make a difference that stands for generations to come.

Architecture trends: Floating buildings

Architecture trends: Smart materials

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