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相信每一位学设计的同学 都会要求去学习用设计思维的方式来思考问题 当然，现在设计思维已经被广泛的运用于各个领域 那么，你们知道设计思维是如何诞生的吗？ 在这短短60年的时间里 都有哪些学术界的大佬推动了设计思维的发展 学习设计思维的时候 有哪些必读的书籍 下面跟随史论君一起 探秘设计思维编年史 中英双语 大家一定要耐心阅读哦 ＮＯＷ现在行动！ You could say the basic principles of Design Thinking have always been around. It was these basic principles that early humans built tools and drew on cave walls. It required observation, experimentation and prototyping. Learning from each iteration and evolving the design and our evolution as a species. Just as is does today. 你可以说设计思维的基本原则一直存在。早期人类正是利用这些基本原则来建造工具以及在洞壁上绘制。这需要观察，实验和原型。他们从每次迭代中学习，从而推进了设计发展和人类物种演化。就如同我们正经历的一样。 In his article, Design Thinking Origin Story Plus Some of the People Who Made It All Happen, Jo Szczepanska provides us an extensive timeline for this “multi-disciplinary, human-centered…amalgamation of approaches that involve research and rapid ideation.” I’ll give you the cliff notes here。 Jo Szczepanska在文章《Design Thinking Origin Story Plus Some of the People Who Made It All Happen》中为这个“多学科，以人为中心...涉及研究和快速构思的方法集合”提供了一个广泛的时间轴。 我将在这里展示精华部分： 1956 Buckminster Fuller officially began teaching Comprehensive Anticipatory Design Science (CADS) at MIT’s Creative Engineering Laboratory. His labs applied scientific methods to generating designs. Buckminster’s approach built on the knowledge of elite teams of engineers, industrial designers, materials scientists and chemists to innovate. A designer is an emerging synthesis of artist, inventor, mechanic, objective economist and evolutionary strategist. 巴克明斯特.富勒（Buckminster Fuller）在麻省理工学院的创意工程实验室正式开始教授Comprehensive Anticipatory Design Science （综合预测设计科学（CADS））。他的实验室将科学方法运用到设计中，在工程师、工业设计师、材料科学家和化学家的精英团队的知识基础上进行创新。设计师是一个新兴的艺术家、发明家、机械师、客观经济学家与进化战略家的综合。 1960–1980 Scandinavian Cooperative Design starting in the 1960’s led to many developments in Human-Computer Interactions and Service Design. The Scandinavian approach that is still present and distinctive today, having the same goals it had over 50 years ago of being inclusive and democratic. Scandinavian的Participatory Design参与式设计始于20世纪60年代，促成了人机交互和服务设计的诸多发展。Scandinavian方法在今天依然存在并且独一无二，保持着50多年前的包容和民主。 1969 Herbert Simon published The Sciences of the Artificial in which gives design a new range of classifications and parameters. Simon argued that everything designed should be seen as artificial — as opposed to natural. the engineer, and more generally the designer, is concerned with how things ought to be — how they ought to be in order to attain goals, and to function. Everyone designs who devises courses of action aimed at changing existing situations into preferred ones Herbert Simon出版了《The Sciences of the Artificial》，其中给出了设计的一系列新分类和参数。Simon认为设计的一切都应该被视作是人为而不是自然的。工程师，更普遍的是设计师，关心事物应该是什么 - 他们应该如何实现目标和运作。每个设计的人都会制定旨在将现有情况转化为最优选项的行动方针。 1971 Victor Papanek arrived on the design scene with Design for the Real World. Highly critical of the design profession he integrated Anthropology into his design practice in an attempt to design socially and ecologically responsible things. Design must be an innovative, highly creative, cross-disciplinary tool responsive to the needs of men. It must be more research-oriented, and we must stop defiling the earth itself with poorly-designed objects and structures. Victor Papanek 因为 《Design for the Real World》登上设计舞台。他秉承设计专业的高度批判性，将人类学融入设计实践，试图设计出对社会和生态有责任感的事物。设计必须是一个创新、有高度创造力、跨学科的工具，以满足人类的需求。它更应该以研究为导向，并且我们必须停止用设计不良的物体和建筑玷污地球本身。 1973 Horst Rittel and his counterpart Melvin M. Webber first coined the term “Wicked Problems.” He is one of the first researchers to try to define design theory while concentrating on design methods. Unlike his predecessors he championed the importance of human experience and perception when designing. For the first time Phenomenology was introduced to the designing of experiences. Horst Rittel和他的同事Melvin M. Webber首先创造了“Wicked Problems.”“棘手问题”这个词，他是第一批尝试定义设计理论同时专注于设计方法的研究者之一。 不像他的前辈，他支持人类经验和感知在设计中的重要性。这是现象学首次被引入到体验设计。 1982 Nigel Cross was a researcher in the field of Human-Computer Interaction before he began investigating design methodology. His seminal book, Designerly ways of Knowing, looks at what makes the way designers think and make decisions different to other professions a great influence which helped in the construction of Design Thinking. Everyone can — and does — design. We all design when we plan for something new to happen, whether that might be a new version of a recipe, a new arrangement of the living room furniture, or a new lay tour of a personal web page. […] So design thinking is something inherent within human cognition; it is a key part of what makes us human.” 在开始研究设计方法之前，Nigel Cross是人机交互领域的研究员。他的开创性著作《Designerly ways of Knowing》探讨了什么造就了设计师的思考方式并且做出不同于其他专业、有巨大影响力的决定，这有助于设计思维的建设。 每个人都能并且正在做设计。我们开展新事物时，无论是新版食谱，客厅家具的新布局，或是在个人网站更新一次旅程……我们都是在设计。因此，设计思维是人类认知中固有的东西；它是我们生而为人的关键部分。 1983 Donald Schön, with a background in philosophy and urban planning argues against the technical-rationality of design profession seen in the 1960’s. The Reflective Practitioner highlights the importance of self-reflection to a successful design process. His work greatly influenced not only design but the field of organizational learning. The reflective practitioner allows himself to experience surprise, puzzlement, or confusion in a situation which he finds uncertain or unique. He reflects on the phenomenon before him, and on the prior understandings which have been implicit in his behavior. He carries out an experiment which serves to generate both a new understanding of the phenomenon and a change in the situation.” Donald Schön有在哲学和城市规划方面的背景，他反对20世纪60年代设计行业的技术理性。《The Reflective Practitioner》强调了自我反思对成功设计过程的重要性。他的工作不仅影响了设计，而且影响了组织学习的领域。 反思性的实践者允许自己在不确定或独特的情况下体验惊奇、迷惑或混乱。他从他面前的现象以及行为里隐含的先前理解中进行反思。他进行了一个实验，用来产生对这种现象的新理解和使情况变化。 1992 Richard Buchanan published Wicked Problems in Design Thinking. He drew a path from design thinking to innovation and its application. In his later writing on design thinking in Design as a New Liberal Art he noted that design as a profession is “integrative” perhaps because of its lack of specializations, it has the potential to connect many disciplines. “Design has no subject matter — that’s what make this a powerful discipline. We MAKE our subject matter.” Richard Buchanan发表了《Wicked Problems in Design Thinking》。他提出了从设计思维到创新及其应用的路径。在后来写《Design as a New Liberal Art》时，他指出设计作为一个专业是“整合的”，也许是因为它缺乏专业化，它有潜力连接许多学科。设计没有主题 - 这使其成为一个强大的学科。我们做我们的主题。 1999 Liz Sanders is a pioneer in applied design research. Many of the tools, techniques and methods being used in Human-Centered Design and Design Thinking today can be attributed to her. Not a designer by trade, her background is in experimental psychology and anthropology. She is also the co-author of Convivial Toolbox, a practical how-to guide for anyone interested in generative design research. This Human-Centered Design revolution is causing us to rethink the design process. In order to drive the human-centered design revolution, we need to tap into the imaginations and dreams not only of designers, but also of everyday people. New design spaces are emerging in response to everyday people’s needs for creativity. Liz Sanders是应用设计研究的先驱。当今以人为中心的设计和设计思维中使用的许多工具、技术和方法都可归功于她。她不是一个商业设计师，她的背景是实验心理学和人类学。她还是《Convivial Toolbox》的合著者，这是一本给对设计研究产生过程感兴趣的任何人的实用指南。这种以人为中心的设计革命正在使我们重新思考设计过程。为了推动以人为中心的设计革命，我们需要挖掘想象力和梦想，不仅对于设计师，而且适用于普通人。新的设计空间正在因响应人类对创意的需求而出现。 1991 IDEO has since managed to popularize the terms Design Thinking and Human-Centered Design, launched educational programs at Stanford’s d.school, authored several books, and embed members at prestigious universities world-wide. IDEO成功地推广了设计思维和以人为中心的设计这两个术语，在斯坦福大学设计学院推出了教育项目，撰写了几本书，并在世界各地著名的大学中都加入了成员。 Kelley Brothers, David and Tom, are both authors of best-selling books, long term members of IDEO’s management and educators. David and Tom have skills that span from design to business management. They collaborated on Creative Confidence a book about unleashing creativity. Kelley Brothers，David和Tom，都是畅销书的作者，也是IDEO的管理和教育者的长期成员。 David和Tom拥有从设计到业务管理的技能。他们合作了《Creative Confidence》——一本关于释放创造力的书。 It turns out that creativity isn’t some rare gift to be enjoyed by the lucky few — it’s a natural part of human thinking and behavior. In too many of us it gets blocked. But it can be unblocked. And unblocking that creative spark can have far-reaching implications for yourself, your organization, and your community.—— Tom Kelley 事实证明，创造力不是幸运的少数人才享有的一种罕见的礼物——这是人类思维和行为中自然的一个部分。它在我们太多的人中都被封住了，但它可以被解开。解开创意火花对自己，你的组织和你的社区可以有深远的影响。——Tom Kelley Tim Brown, an Industrial designer and IDEO’s CEO, has been a great advocate for Design Thinking and innovation. He has written many articles promoting design thinking for non designers, and Change by Design. 工业设计师和IDEO的首席执行官Tim Brown一直是设计思维和创新的伟大倡导者。 他为非设计者们写了许多文章，以及《Change by Design》来介绍设计思维。 In order to survive in today’s complex world, organizations need to generate, embrace, and execute on new ideas. That takes creativity and a creatively capable workforce. It’s the secret sauce, or in evolutionary terms, it’s what keeps you fit. Organizations without it can’t compete. 为了在今天复杂的世界中生存，组织需要创造，拥抱和执行新的想法。这需要创造力和富有创造力的员工。这是秘方，或者在进化论里，它是让你适者生存的东西。没有它的组织无法竞争。 Jane Fulton Suri, with a background in both psychology and architecture, has been instrumental in co-authoring many of IDEOs human-centered design tools. To quote her IDEO bio “She evolved techniques for empathic observation and experience prototyping that are now employed widely in the design and innovation of products, services, and environments, as well as systems, organizations, and strategies.” Her book Thoughless Acts? shows the link between direct observation and design inspiration. Most recently she authored The Little Book of Design Ethics. Jane Fulton Suri在心理学和建筑学方面有着丰富的背景，在IDEO的许多以人为中心的设计工具的共同创作方面发挥了重要作用。引用她的IDEO简历“她改进了同理心观察和经验原型的方法论，现在被广泛应用于产品，服务，环境，以及系统，组织和战略的设计和创新”。她的书《Thoughless Acts?》展示了直接观察和设计灵感之间的联系。最近她创作了《The Little Book of Design Ethics》。 “Design research both inspires imagination and informs intuition through a variety of methods with related intents: to expose patterns underlying the rich reality of people’s behaviors and experiences, to explore reactions to probes and prototypes, and to shed light on the unknown through iterative hypothesis and experiment.” “设计研究激发了想象力，通过各种相关意图的方法告诉直觉：在人们丰富的现实行为和经验下去揭示模式，去探索对调研和原型的反应，并通过迭代的假设和实验去揭示未知。” Bill Moggridge, with a background in Interaction design, is one of the cofoundersof IDEO. He designed the first ever laptop and was a pioneer in applying a human-centered approach to designing objects and emerging technologies. He has authored books that focus on Interaction design, Designing Interactions. Bill Moggridge拥有交互设计背景，是IDEO的联合创始人之一。他设计了第一台笔记本电脑，并且是应用以人为中心的方法到设计物体和新兴技术的先驱。他创作的书《Designing Interactions》着重于交互设计。 I don’t think that anyone has really told (people) what design is. It doesn’t occur to most people that everything is designed — that every building and everything they touch in the world is designed. Even foods are designed now. So in the process of helping people understand this, making them more aware of the fact that the world around us is something that somebody has control of, perhaps they can feel some sense of control, too. I think that’s a nice ambition. 我不认为有人能真的告诉别人什么是设计。大多数人不会意识到任何东西都被设计过——所有的建筑物、他们在世界上碰到的一切都是经过设计的。现在甚至连食物都是设计过的。因此，在帮助人们理解这一点的过程中，让他们更加意识到这个事实——我们周围的世界是可以由人控制的，也许他们可以感觉到一些控制感。我认为这是一个很好的目标。 2002 Alastair Fuad-Luke is a self-professed design facilitator, educator, writer and activist currently teaching emerging design practices. His projects emphasize openness, collaboration and co-design with communities and individuals, social well-being and alternative economies. His books, Design Activism and The Eco-Design Handbook comment on the role of design in sustainability. Alastair Fuad-Luke以设计推动者、教育家、作家和活动家自居，目前正在教授新兴的设计实践。他的项目强调社区和个人，社会福利和可替代经济体的开放，协作和共同设计。 他的书，《Design Activism》和《The Eco-Design Handbook》评论了设计在可持续发展中的作用。 The real JOY of design is to deliver fresh perspectives, improved well-being and an intuitive sense of balance with the wider world. The real SPIRIT of design elicitssome higher meaning. The real POWER of design is that professionals and laypeople can co-design in amazingly creative ways. The real BEAUTY of design is its potential for secular, pluralistic expression. The real STRENGTH of design is this healthy variance of expression. The real RELEVANCE of design is its ability to be proactive. The real PASSION of design is in its philosophical, ethical and practical debate. 设计真正的乐趣是提供新的视角，改善的幸福感和与更广阔的世界的直觉平衡感。设计的真正灵魂引出了一些更高的意义。设计的真正力量在于，专业人士和外行人可以以令人惊讶的创意方式共同设计。设计的真正美丽之处是它的世俗的，多元表达的潜力。设计的真正优势是这种健康的表达差异性。设计的真正相关性是它的主动能力。设计真正的激情是在其哲学，伦理和实践的辩论。 2003 Ezio Manzini, one of the founders of DESIS and supporters of Slow Design, Manzini’s works are grounded in participatory design for sustainability. Utilizing many service design tools his books and projects including Sustainable Everyday and Design, When Everybody Designs focus on inclusive ideation and testing for sustainability. Similar to the style of Scandinavian cooperative design, in Manzini’s work, the designer is the mediator. Design for social innovation is everything that expert design can do to activate, sustain and orient processes of social change towards sustainability.” Ezio Manzini是DESIS的创始人之一，也是慢设计的支持者，Manzini的作品以可持续发展的参与式设计为基础。他的书籍和项目中利用了许多服务设计工具，包括《Sustainable Everyday and Design》，而人人设计则聚焦在包容性的想法和可持续性测试。类似于Scandinavian合作设计风格，在Ezio Manzini的工作，设计师是调解人。社会创新设计是专家设计可以激活，维持和指导社会变革过程向可持续发展的过程。 Deborah Szebeko, is the founder of social design agency of thinkpublic who specializes in design and innovation within the public sector and NGO’s. With a focus on co-design and a focus on social issues. “We use a mixture of design processes. We’ve got a diversity of designers, including service designers, graphics designers, information designers, programmers, marketers, social scientists, positive psychologists, and even anthropologists. This diversity of experts bring different techniques related to their disciplines, and this mixture creates a unique design process — we call it a co-design process — whereby we capture public views.” Deborah Szebeko是thinkpublic这一社会设计机构的创始人，专门从事公共行业和NGO的设计和创新。重点关注协同设计和社会问题。 我们使用一种混合的设计过程。我们有各种各样的设计师，包括服务设计师，图形设计师，信息设计师，程序员，营销人员，社会科学家，积极的心理学家，甚至人类学家。这种多样化的专家带来了与他们的学科有关的不同技术，这种混合创造了一个独特的设计过程 ——我们称之为协同设计过程，通过这个我们来获取公众的看法。 I expect that there are some missing from this list… and that Design Thinking will continue to evolve over time. 我认为这个列表中还是会存有遗漏，并且设计思维将继续随着时间的推移而发展。 |
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