Simple problems (problems which are already defined)
are easy to solve,
because defining a problem
inherently defines a solution.

The definition of a problem is subjective;
it comes from a point of view.
Thus, when defining problems,
all stake-holders, experts, and designers
are equally knowledgeable
(or unknowledgeable).

Some problems cannot be solved,
because stake-holders cannot agree on the definition.
These problems are called wicked,
but sometimes they can be tamed.

Solving simple problems may lead to improvement”
but not innovation.
For innovation, we need to re-frame wicked problems.

Because one person cannot possibly remember
or keep track of all the variables (of both existing and desired states)
in a wicked problem,
taming wicked problems requires many people.

These people have to talk to each other;
they have to deliberate; they have to argue.

To tame a wicked problem,
they have to agree on goals and actions for reaching them.
This requires knowledge about actions,
not just facts.

Science is concerned with factual knowledge (what-is);
design is concerned with instrumental knowledge
(how what-is relates to what-ought-to-be),
how actions can meet goals.

The process of argumentation is the key
and perhaps the only method of taming wicked problems.

This process is political.

Design is political.

Originally published as part of Why Horst W.J. Rittel Matters
by Chanpory Rith (that’s me!) and Hugh Dubberly,
in Design Issues: Volume 23, Number 1, Winter 2007

But let’s try to answer it anyway—visually! Check out Dubberly Design Office’s new concept map, A Model of the Creative Process:

Here’s DDO’s brief description of the concept map and poster:

The creative process is not just iterative; it’s also recursive. It plays out “in the large” and “in the small” ––in defining the broadest goals and concepts and refining the smallest details. It branches like a tree, and each choice has ramifications, which may not be known in advance. Recursion also suggests a procedure that “calls” or includes itself. Many engineers define the design process as a recursive function: discover > define > design > develop > deploy

For a closer look, head on over to the site and download the PDF.

Designers and collaborators on the project include:

• Hugh Dubberly
• Jack Chung
• Shelley Evenson
• Paul Pangaro

Note: I also work at DDO!

Your morning just got a little cuter with Pantone’s line of swatch-inspired coffee cups. With a range of vivid hues and shades of espresso, they’re perfect for hardcore designers who crave a dose of design in the morning.

I’d really be swooning if they were available in every Pantone color. It won’t happen soon, but I can still dream, right?

So, the next time you’re twittering away at 1am grumbling about some project you’re working on, think about the benefits of a 9 to 5 job:

1. A life outside of work
   At 5pm, you’re free to do whatever you want–except work. That means you’ve got time to cook dinner, go to the gym, see the sun set, or go on a hot date. In other words, you get a life.

2. Less stress
   Since work ends at a consistent time everyday, you spend fewer brain cells worrying about work when you shouldn’t be. Less worry means more happiness. I don’t need to cite the countless studies on this one.

3. Greater efficiency
   When you bracket your work day, you force yourself to work efficiently. It’s like having a deadline everyday at 5pm. No matter how long the work day is, you’ll find ways to fill it up. Why? According to Parkinson’s law, because you can. Firmly holding yourself to an 8 hour day means you’ve got to prioritize and negotiate your tasks.

It must be possible to be an excellent and passionate designer while working only 9 to 5, right? Is anyone else doing this? Or am I chasing a unicorn?

Half a century later, it’s still amazing.

I especially love the video of the chair’s assembly, and of course, the special appearance by Ray Eames at the end.

Thanks to Hugh for sending this my way.

Instead of titling your portfolio like the latest celebrity scent, why not just use your own name? Here’s my rationale:

When applying for a job, you want your potential boss to remember one thing–your name. They are hiring you, not “Beyond Imagination” or “Passions” or “Reflections” or “Curiosity.” In short, your name is your brand. Presenting any brand other than your own creates confusion and dilutes your name.

So don’t be tempted to overbrand everything. Keep your portfolio simple, and don’t bury your own beautiful name. Love it. Own it. Flaunt it.

Check it out:

Maybe, it’s time for me to ditch Bank of America. Read and see more images of the project here.

It’s great to see examples of design like this–mundane, everyday experiences improved through design.

A curmudgeony tangent:

Last Saturday, our office interviewed 20 design students at AIGA Portfolio Day. We saw good portfolios, but not a single person showed interest in interaction design. Which is a shame, since we were looking for interns.

And frankly, that’s where the work is in the Bay Area.

Okay, maybe interaction design just isn’t as exciting as designing logos, coffee table books, and posters. Pentagram’s Wells Fargo ATM redesign is not glamour work, but it’s still quite interesting and rich. Less about making eye candy. More about making useful, usable, and delightul experiences. Now, isn’t that exciting?

Wanna know how much dough designers make? Check out the AIGA Survey of Design Salaries. Results for 2008 are out.

It’s dubbed “definitive,” but take it all with a grain of salt.

You can view the results on their site or download the PDF.

The world has enough interviews of rock star designers, so I’m interviewing everyone else–designers who are happy, without the fame.

Let’s start Stephanie Orma, a former student from my alma mater, the California College of the Arts. I first met her when I was a TA for Jim Faris’s information design class.

I recently caught up with Stephanie and asked her a few questions about her struggles, inspirations, and future:

1. First, tell us a little about yourself

I’m the founder and artist of She’s SO Creative, a brand new line of outrageously clever and devilishly adorable greeting cards. I do everything: conceptualizing the ideas, drawing the illustrations, designing the cards, writing the copy, marketing and pr, answering emails, and fulfilling and shipping orders.

My professional career ran the gamut from graphic designer for award-winning design firms to marketing account manager & creative marketing consultant for major Fortune 500 accounts.

I studied creative writing at the University of Michigan, and graphic design at Parsons School of Design in New York City and California College of the Arts in San Francisco.

2. Wow, that’s a handful. How do you balance it all?

That is definitely a struggle. I’m so excited about my new business, I want to work on it all the time! I keep a pad and pen right next to my bed, so I can write down all the ideas that pop into my head at 2am.

But I just try make sure to take breaks throughout the day, whether it’s going for a run or hike outside or to a yoga class. I’ve learned over the years how essential breaks are for refueling, recharging, and keeping the ideas coming!

3. When was the moment you decided to quit your job and start your own business?

It wasn’t just one moment. The strong, growing desire to devote 100% to pursuing something that would truly fulfill and make me happy came to a head around the time I turned 30. It’s a pivotal and reflective age for all of us. And it gave me the much needed push to go off on my own. Plus, I think I had finally had enough confidence in my skills and talent.

4. What were some of the early struggles?

I struggled for a long time to find my creative voice. I have a very unique and quirky sense of humor, which is pretty obvious in my work now. Scott Metzger, a brilliant illustrator and comedic writer whom I admire very much, said the first time he saw my cards, they –”oozed with personality. Right there on the table––they were oozing.–

But when I was in design school, I definitely struggled to bring personality to my designs. It wasn’t until I fully embraced this part of me and felt confident enough to express it, did my work really come alive.

5. What’s it like not being famous?

When I was twelve, I wore a pin that read –”I can’t understand why I’m not rich and famous.– I still don’t get it–¦

6. What was your most dramatic design school moment?

It was when I first began the graphic design program at Parsons. Everything was so new to me: using a Mac, all the Adobe design programs, communicating through typography, imagery, and page design. It opened up this whole new and exciting world to me–especially living in NYC at the time.

I remember walking through Times Square after one of my graphic design classes. It was like seeing the city for the very first time. I focused on the kerning of the type in the billboards, the signs on the buses, the posters on the building facades. It was a very inspiring time in my life.

7. Would you have done anything differently in school?

I struggled with self-doubt, and was really hard on myself in design school. But all my past experiences and how I perceive the world influence my work and ideas today. It was a long process to get here. But I learned a tremendous amount and gained confidence in all my endeavors along the way. So in a nutshell, I wouldn’t change a thing.

8. Who do you draw inspiration from?

I was really into watching Donny Deutsch’s TV show, The Big Idea, on CNBC for a while. He interviews ordinary, everyday people who had the courage to follow their dreams and start their own businesses. He’s interviewed everyone from the person who created the Cranium board games to the person who started Spanks.

I’m also constantly inspired by the brilliant artists and designers gracing the pages of Communication Arts Magazine. In terms of inspiration for my own work, everything inspires me. It could be something I see, hear, or remember, and I’ll be off and running with an idea for a greeting card.

9. What’s next for you?

Growing my business, of course! She’s SO Creative greeting cards are already in over 35 stores, 9 states, and both coasts in less then 4 months! Future plans include, increasing retail outlets across the country, branching out into other products such as tote bags, notebooks, and prints, as well as, designing many, many more greeting cards!

10. Your best tip for new designers leaving school?

Follow your passion, believe in yourself, work hard, and pursue your dreams.

Photo by Herman Privette

From Erik