Wicked Problems (the practice chapter)

How designers handle complexity = wicked problem. I framed it as a wicked problem but wtf is a wicked problem. 

As a town planners Rittel understands problems in a particular societal context. “The kinds of problems that planners deal with—societal problem—are inherently different from the problems that scientists and perhaps some classes of engineers deal with. Planning problems are inherently wicked.” P. 160

CHECK THAT NICK PAPER AGAIN !!!!

Around the middle of the Cold War people were increasingly questioning professionals’ ability to solve societal problems. This issue is the starting point of, where ‘Wicked problem’ was as a term. Rittel and Webber attribute the negativity surrounding professionals’ actions at the time to a mismatch between society’s problems and the professionals’ approach to solving these problems not their lack of knowledge (Rittel and Webber, 1973, p. 156). Their theorised that the nineteenth century scientific and linear approach to problem solving – define problem and then solve it – was no longer suitable for handling the increasingly more complex problems of the mid twentieth century (Rittel and Webber, 1973, p. 156; Schön, 2016, p. 39; Buchanan, 1992, p. 15). These problems were ‘wicked problems’ as opposed to ‘tame problems’. Tame problems are problems which are easily defined and easily solved in a linear manner. The problem formulation is more objective and scientific like a mathematical problem or deciding the next move in chess. The properties of wicked problems lead them to require a different form of problem solving to the scientific method currently being used by professionals; one which focusses more on thoroughly defining the problem. 

FOR EXAMPLE 

“Neither Rittel nor any of those studying wicked problems approach has remained only a description of the social reality of designing rather then the beginnings of a well-grounded theory of design.” [Buchanan, p. 16] 

but this latter property of wicked problems, found also in the principles of rhizomes, which emphasises the subjectivity of problem formulation was enthusiastically adopted by designers. Designers understood depending on how you entered the wicked problem you would map it out from this perspective, therefore your solution would also be formed this way [reference Rittel and Webber]. This led to a form of problem solving which involved simultaneous development of problem and solution. Richard Buchanan talked about it [this way]. And then other designers such Cross and Dorst declared this as a intrinsic part of designers instinct [expand]. [Cameron Tonkinwise writes in his paper Design Away, that “no product is a island” and how any newly designed item “must negotiate [the] ecosystem” it has bene born into (2014, p. 201).The previous attempts to ‘solve’ the issue of oral history reuse did not take in consideration the ecosystem they were entering.]

Design therefore becomes a different form of research. Fraylinbg!!!!!!!

Reflective practice. It is an iterative process

Outputs 

BUCHANANANANANANNANANAN

Because my focus was maintenance the outputs of this project were far more about certain an understanding however there were some additional outputs which was a bonus. These outputs were only seen as specific to my particular formation of the problem. “Design is fundamentally concerned with the particular, and there is no science of the particular.” [Buchanan, p. 17] 

It is important to note simultaneous problem and solution development does not always end with a perfect solution, it simply puts the designer in a better position to critique their perspective and reflection on their work. As each wicked problem is subjective and so are the solutions, as Dorst and Cross write [quote on how each designer will interpret a problem]. This is why many designers and design theorists emphasise the importance of collaboration [references]. The aim of collaboration utilises the knowledge of those who live/work within the wicked problem to create a solution which is a compromise between their different ideas. Something which some of the previous attempts to solve oral history reuse did not follow as you can see with the attitudes towards the software developers and programmers in project Jukebox and Stories Matters [add quote]. [and the strenuous relationship between sound archivists and oral historians (perks).]

However, some design theorists take it a step further by having the designers collaborate with stakeholders to identify ‘opportunities’ within a ‘situation’ rather than simultaneously defining a problem and a solution [reference]. This method allows the ‘situation owners’, those who work within the area of the problem, to become more comfortable with the ambiguity of the wicked problem, empowering them to choose how and what to implement at their discretion. This idea of identifying the situation and opportunities is fitting to the case study of Seaton Delaval Hall, the National Trust, and similar maintenance orientated institution as they move and change exceptionally slowly, therefore ‘solutions’ might be too much all at once but a variety of ‘opportunities’ accompanied by a better understanding of the situation might be easier to handle. 

I have decided to frame the deep dark secret of oral history as an issue of maintenance. Maintenance, which at the start of this project was no more than a vague direction but over the years became clearer as I worked together with National Trust staff and volunteers, and others working with oral history and archives, to understanding what it takes to sustain access to archived oral history recordings. 

The main aim of this project is to identify the situation of oral history reuse within the wider field of oral history and also the specific situation of oral history at the National Trust using Seaton Delaval Hall as the case study. In response to these situations I produced opportunities but only for the specific situation of oral history at the National Trust and Seaton Delaval Hall. This is because as I mentioned previously every version of a wicked problem is unique and needs to be respected as such. I can therefore not offer opportunities for the wider oral history field but I can offer a mode of thinking which will help others identify their own specific situation and opportunities within. 

LIT REVIEW OF DESIGN MAINTENACE Manzini and tonkinwise and papanek etc.