Wicked Problems in Design Thinking 是一篇非常有名的介绍 Design Thinking 的文章，1992年发表，影响很大。

“Design Thinking” 一词在商业领域的关注源于上个世纪八、九十年代的美国，哈佛大学和史坦福大学的设计学教授首先定义和提出了这一概念。1992年，著名设计家、卡内基梅隆大学的布坎南教授（Richard G. Buchanan）发表了他著名的文章《设计思维中的疑难问题》（Wicked Problems in Design Thinking），文章论述了人们在生产和生活实践中会遇到诸多在根本上就难以界定的困难，这就是所谓的“Wicked problem”，设计思维在这类问题上能起到特殊的作用。当今产业界已经意识到问题而难以发现和界定问题，这正是全球商业领域所面临的痛苦所在。布坎南教授的这篇文章触动了产业界的痛处，使得Design Thinking在全球得到了真正广泛的认同。2000年以来，Design Thinking 成了商业领域的热门词汇，同时，设计的方向也开始从产品转向公共服务和商业服务，设计思维方法开始释放出巨大的能量。2000年底，受IDEO联合创始人Bill Moggridge 的建议，Lavrans Lovlie、Ben Reason和Chris Downs 在伦敦成立了一家新的服务设计咨询公司Live/Work，开创了服务设计Service Design和商业设计Business Design的先河。

而国内似乎没有完整版的翻译文章，因此个人打算将这18页的论文通篇翻译下来。
句子用?？标注的则表示在翻译上并不理解，如果有愿意交流的小伙伴可以留言。

第一部分: 探讨背景

Despite efforts to discover the foundations of design thinking in the fine arts, the natural sciences, or most recently, the social sciences, design eludes reduction and remains a surprisingly flexible activity.

?尽管人们在努力探索设计思维在艺术、自然科学，以及近年来的社会科学中的基础，设计始终在避免减少，仍然是一个惊人的灵活的活动。？

No single definition of design, or branches of professionalized practice such as industrial or graphic design, adequately covers the diversity of ideas and methods gathered together under the label.

单一的设计定义或专业实践分支（如工业设计、平面设计），都没法全面涵盖这个定义下的思想方法的多样性。

Indeed, the variety of research reported in conference papers, journal articles, and books suggests that design continues to expand in its meanings and connections, revealing unexpected dimensions in practice as well as understanding.

事实上，在会议论文、期刊文章和书籍中报道的各种研究表明，设计在持续扩展自己的意义和联系，揭示实践中的没有考虑过的维度以及理解。

This follows the trend of design thinking in the twentieth century, for we have seen design grow from a trade activity to a segmented profession to a field for technical research and to what now should be recognized as a new liberal art of technological culture.

这符合二十世纪设计思维的趋势，因为我们已经看到，设计从贸易活动不断发展到细分行业，再到技术研究领域，现在更像是一种科技潮流下的博雅教育。

It may seem unusual to talk about design as a liberal art, particularly when many people are accustomed to identifying the liberal arts with the traditional “arts and sciences" that are institutionalized in colleges and universities.

在很多人习惯用学校里的传统方式——“艺术与科学”——来定义博雅教育的背景下，把设计作为一种博雅教育来谈论似乎是不大常见的。

But the liberal arts are undergoing a revolutionary transformation in twentieth-century culture, and design is one of the areas in which this transformati onIs strikingly evident.

但博雅教育正在经历二十世纪文化的革命性转变，而设计是这种转型的一个显着的领域。

To understand the change that is now underway, it is important to recognize that what are commonly regarded as the liberal arts today are not outside of history.

为了理解现在正在发生的变化，一个很重要的认识是，先进的博雅教育的内容并不是什么新东西，绝大部分在过去就有了。

They originated in the Renaissance and underwent prolonged development that culminated in the nineteenth century as a vision of an encyclopedic education of beaux arts, belles lettres, history, various natural sciences and mathematics, philosophy, and the fledgling social sciences.

他们起源于文艺复兴时期，经历了漫长的发展，最终在十九世纪成为了一个包含广泛内容的教育体系，其包含了美学、文学、历史、各种自然科学、数学、哲学，以及刚刚开始发展的社会科学。

This circle of learning was divided into particular subject matters, each with a proper method or set of methods suitable to its exploration.

这个学习循环被分成了一些特定的科目，每个科目都有一个适当的方法或适合于其探索的一套方法。

At their peak as liberal arts, these subject matters provided an integrated understanding of human experience and the array of available knowledge.

在博雅教育发展高峰期，这些科目提供了对人类经验和知识树的综合理解。

By the end of the nineteenth century, however, existing subjectsWere explored with progressively more refined methods, and new subjects were added to accord with advances in knowledge.

然而，到了十九世纪末，现有学科的研究方法逐渐更加精细化，新的学科也随着知识的进步而增加。

As a result, the circle of learning was further divided and subdivided,Until all that remained was a patchwork quilt of specializations.

结果，学习圈被进一步划分和细分，直到剩下的只是一个专业领域下的“拼布床单”。

Today, these subject matters retain an echo of their old status as liberal arts, but they flourish as specialized studies, leading to the perception of an ever more rich and detailed array of facts and values.

今天，这些学科，保留旧时博雅教育的影子，但他们的蓬勃发展为专业学科，导向了一个更为详实的知识体系。

Although these subjects contribute to the advance of knowledge, they also contribute to its fragmentation, as they have become progressively narrow in scope, more numerous, and have lost "connection with each other and with the common problems and matters of daily life from which they select aspects for precise methodological analysis".

虽然这些科目有助于知识的进步，但是它们也造成了知识的碎片化，因为专业知识涉及的范围越来越细，也越来越多，这也导致了各个学科知识间失去了关联，同时这也切断了它们与各种常见问题（比如说各种日常琐事）之间的联系。

?而我们往往是在这些具体的问题中寻找精确的方法分析。?

The search for new integrative disciplines to complement the arts and sciences has become one of the central themes of intellectual and practical life in the twentieth century.

寻找新的综合学科来补充旧时博雅教育（艺术和科学）的地位，已成为二十世纪的知识分子和实用?生活?的中心主题之一。

Without integrative disciplines of understanding, communication, and action, there is little hope of sensibly extending knowledge beyond the library or laboratory in order to serve the purpose of enriching human life.

如果没有理解、交流和行动的综合学科，就不可能合理地探索图书馆或实验室以外的知识，丰富人类生活。

The emergence of design thinking in the twentieth century is important in this context.

在这一背景下，二十世纪中设计思维的出现是很重要的。

The significance of seeking a scientific basis for design does not lie in the likelihood of reducing design to one or another of the sciences-an extension of the neo-positivist project and still presented in these terms by some design theorists.

我们为设计寻求科学基础不是为了将设计定义成某种科学——这是新实证主义项目的延伸，而且一些设计理论家仍然用这些术语来圈定设计的内涵。

Rather, it lies in a concern to connect and integrate useful knowledge from the arts and sciences alike, but in ways that are suited to the problems and purposes of the present.

相反，它的意义在于连接和整合如同博雅教育中的通用知识，不过区别就是，这些知识是适合解决当前的问题和目的的。

Designers, are exploring concrete integrations of knowledge that will combine theory with practice for new productive purposes, and this is the reason why we turn to design thinking for insight into the new liberal arts of technological culture.

设计师们正在探索知识的具体整合方法，将理论与实践结合起来，以达到新的生产目的，这就是我们转向设计思维以洞察这种科技文化下的新博雅教育。