Problem Solving
The solution of the age
What the problem is
You can't look a big problem too directly in the eye
Everything works both ways
The kind of problem a city is
The problem of the house has not yet been stated
Clinging to ideas
A good question is better than a brilliant answer
A normal wooden pencil
Each fascinating crisis
You are agreeing to make a Thing
How to be a genius
Old solutions
As something we have never seen before
The technology shelf
Details first
Each pattern is a rule
When all you have is a hammer
Notes on the Synthesis of Form
Framing vs. Shaping
Learning to walk through walls
An Article by David R. MacIverI have a running joke that one of the most useful things I do when coaching or consulting is to say to people “Yes, that does sound like a problem. Have you tried solving it?”
Part of why this is a joke is that actually most of the useful work happens prior to the point - the hard part is actually articulating what is going wrong well enough that it seems like a soluble problem - but there is genuinely something useful about this, because often it feels people are looking for permission.
Without the external prompt, solving their problem is not something they noticed that they were allowed to do.
Delight in the imperfect
An Article by David R. MacIverI think part of the difficulty in allowing ourselves to properly delight in the imperfect, comes from conflating delighting in something with wanting it to happen. This isn’t the case. You can appreciate something as it exists while acknowledging its problems. You can see that a fire is beautiful without becoming a pyromaniac, and you can appreciate the absurdity of your political situation without thinking it’s good.
Even if a delight in the imperfect causes you to want more imperfection in your life (and it should), there is no shortage of imperfection to seek out. The imperfect is not scarce, it’s abundant. If you find imperfection delightful, you will never be short of things that delight you, even if you fix any given problem. Solving problems and smoothing out imperfections doesn’t remove the source of delight, it merely opens up new vistas for it. You could give yourself over totally to delight in the imperfect and never run out of things to explore, even without creating your own.
The Nature of Product
An Article by Marty CaganToo many product managers and product designers want to spend all their time in problem discovery, and not get their hands dirty in solution discovery – the whole nonsense of “product managers are responsible for the what and not the how.”
The Feynman Algorithm
A Definition- Write down the problem.
- Think real hard.
- Write down the solution.
The fastest way to learn something is to do something
An Article by David R. MacIverSuppose you have a problem to solve. What do you do?
Well, you sit down and think real hard, and after extensive and careful planning you try the well thought out and rigorous solution that you have thought up. Right?
No, wrong! Bad.
The correct thing to do when you have a problem is:
- Think for a short amount of time.
- Make sure it is safe to try things.
- Try something you think will work.
- Observe the result. If you succeeded, yay you solved the problem! If it didn't work, think about what that means for the nature of the problem and try again.
Scott and Scurvy
An Essay by Maciej Cegłowski…one of the simplest of diseases managed to utterly confound us for so long, at the cost of millions of lives, even after we had stumbled across an unequivocal cure. It makes you wonder how many incurable ailments of the modern world—depression, autism, hypertension, obesity—will turn out to have equally simple solutions, once we are able to see them in the correct light. What will we be slapping our foreheads about sixty years from now, wondering how we missed something so obvious?
Class 1 / Class 2 Problems
An Article by Kevin KellyThere are two classes of problems caused by new technology. Class 1 problems are due to it not working perfectly. Class 2 problems are due to it working perfectly.
...Class 1 problems arise early and they are easy to imagine. Usually market forces will solve them. You could say, most Class 1 problems are solved along the way as they rush to become Class 2 problems. Class 2 problems are much harder to solve because they require more than just the invisible hand of the market to overcome them.
...Class 1 problems are caused by technology that is not perfect, and are solved by the marketplace. Class 2 problems are caused by technology that is perfect, and must be solved by extra-market forces such as cultural norms, regulation, and social imagination.
Adding is favoured over subtracting in problem solving
A Research PaperHow would you change this structure so that you could put a masonry brick on top of it without crushing the figurine, bearing in mind that each block added costs 10 cents? If you are like most participants in a study reported by Adams et al. in Nature, you would add pillars to better support the roof. But a simpler (and cheaper) solution would be to remove the existing pillar, and let the roof simply rest on the base.
A series of problem-solving experiments reveal that people are more likely to consider solutions that add features than solutions that remove them, even when removing features is more efficient.
Do not propose solutions
A Quote“Do not propose solutions until the problem has been discussed as thoroughly as possible without suggesting any.
I have often used this edict with groups I have led—particularly when they face a very tough problem, which is when group members are most apt to propose solutions immediately.”
— Norman R.F. Maier
What we have known since long
A Quote by Ludwig WittgensteinThe problems are solved, not by giving new information, but by arranging what we have known since long.
Understanding Architecture
We have turned our faces towards the future
During the modern era, we have even changed our bodily position in relation to the flow of time; the Greeks understood that the future came from behind their backs and the past receded away in front of their eyes, but we have turned our faces towards the future, and the past is disappearing behind our backs.
A timeless space
Our culture reveres youth, aspires to agelessness and is frightened by signs of age, wear and decay. As a consequence of this obsession, and the qualities of our man-made materials, contemporary environments have lost their capacity to contain and communicate traces of time. Our buildings often seem to exist in a timeless space without contact with the past or confidence for the future.
Theatre Epidaurus, Greece, 330 BC
Mounting the massive cut stone stairs [of the amphitheater], we note the way in which the overhanging front edge of each seat folds down to form the first step up to the next section, the second step being the front edge of the foot space of the next set of seats. This detail is complemented by the way the undercut beneath the front edge of each seat is curved rather than sharp-edged — a detail that, being hidden in the shadows, is first revealed by our touch. An equally subtle detail is the way each stone seat is lifted slightly above the level of the foot space behind it, so that one does not set foot on the surface upon which others sit.
The secret life of sculpture
The sculptures are arranged in informal groupings, carefully placed to catch the natural light that brings them to life, so that, when we enter the room, it seems we have interrupted an ongoing conversation among them.
Church on the Water, Hokkaido, 1985–8
At the edges of the outer walls to left and right, the slate floor is held back, creating a shadowed slot into which the concrete wall slips out of sight. Because the wall does not meet and bear upon the floor, as is usual, the relationship of the wall to the ground is uncertain, and the rippling surface of the black slate floor appears to float free of the walls, merging with the rippling surface of the water.
We must go with them
"You cannot make what you want to make, but what the material permits you to make. You cannot make out of marble what you would make out of wood, or out of wood what you would make out of stone. Each material has its own life, and one cannot without punishment destroy a living material to make a dumb senseless thing. That is, we must not try to make our materials speak our language, we must go with them to the point where others will understand their language."
— Constantin Brancusi
Wood
Wood speaks of its two existences and timescales: its first life as a growing tree and the second as a human artefact made by the caring hand of a carpenter or cabinet maker.
Lightness & Heaviness
"Lightness is born of heaviness and heaviness of lightness, instantaneously and reciprocally, returning creation for creation, gaining strength proportionally as they gain in life, and as much more in life as they gain in motion. They destroy one another also at the same time, fulfilling a mutual vendetta, proof that lightness is created only in conjunction with heaviness, and heaviness only where lightness follows."
— Leonardo da Vinci
Errors & Crimes
"A builder who hides any part of the building frame, abandons the only permissible and, at the same time, the most beautiful embellishment of architecture. The one that hides a loadbearing column makes an error. The one who builds a false column commits a crime."
— Auguste Perret
Desired qualities of light
In today's architectural practice, light is regrettably often treated merely as a quantitative phenomenon; design regulations and standards specify required minimum level of illumination and window sizes, but they do not define any maximum levels of luminance, or desired qualities of light, such as its orientation, temperature, color, or reflectedness.
Salk Institute for Biological Studies, La Jolla, 1959–65
If you are there at sunset, as are the scientists every day, you see the most magical of transformations: the golden glow that fills the sky to the west is first reflected in the water of the ocean and then shoots like a line of fire up through the gathering darkness of the plaza's stone floor, to reach its source in the cubic fountain. The court is breathtaking in its sublime power, opening at the edge of the continent to the Pacific Ocean and framing the light blue-on-dark-blue horizon line of the sea and sky.
Secreted
House and home are two evidently different notions: house is a material, spatial and architectural concept, whereas home is a unique setting and product of the act of dwelling itself. Home is charged with subjective meanings, symbols, memories, and images.
A home is also a set of personal rituals, habits, rhythms, and routines of everyday life. In every sense of the word, home is an extension of its inhabitant. Consequently it can not be an object of design by an architect; it is secreted, as it were, by the actual act of dwelling.
Room continuum
The Modernist aspiration for continuous, flowing space and open interconnections between spaces has a tendency to reduce the sense of room-ness by turning space into a continuum, creating a flow through units instead of projecting a spatial object.
Tree, leaf, house, city
"Tree is leaf and leaf is tree – house is city and city is house. A city is not a city unless it is also a huge house – a house is a house only if it is also a tiny city."
— Aldo van Eyck
Chapel of St. Ignatius, Seattle, 1995–7
The exterior walls of the Chapel of St. Ignatius are made of large, complexly interlocking concrete slabs, a variegated golden-brown in color, and the roofs are clad in light grey metal. At the corners where the joints between the wall panels interlock are windows of various rectangular shapes and sizes, and the egg-shaped metal anchors that were used to lift the walls in place project slightly forward, casting small shadows.
- Bells
Dwelling in ritual
Even a dwelling is a device that generates a distinct pattern of daily activities and their relationships. Some buildings are explicitly built for ritual, but the repetition of any activity, either mundane or religious, tends to ritualize them, and by facilitating this, an architectural structure can turn gradually – sometimes even unnoticeably – into an instrument of ritual.
Ise Shrines, Nagoya, 685–Present
The Ise Shrines at Naiku and Geku, near Nagoya, highly refined idealizations of ancient agricultural storehouses, have been rebuilt at least sixty-one times since first being established. The entire twenty-year building cycle is a continuous, precisely defined ritual. The result is unlike any religious structure in the world, one that is always new, and at the same time over a millenium old.
Memory & Fantasy
Memory and fantasy are related, as are recollection and imagination; one who cannot remember also cannot imagine, as memory is the very soil of imagination.
In our bodies
We tend to think of our memory as a cerebral capacity, but the act of memorizing engages our entire body. Remembering is not solely a mental even; it is also an act of embodiment and bodily projection. Memories are not only hidden in the electrochemical processes of the brain; they are also stored in our skeletons, muscles, senses, and skin.
American Folk Art Museum, New York City, 1998–2001
As we draw closer, we see that the three-faceted planes of the museum are fabricated out of rectangular panels made of white bronze that was poured directly into dammed forms on the concrete floor of the foundry, producing a surface texture similar to both metal and stone.
Take your names with you
When the Masai of Kenya were forced to relocate, they took with them the names of hills, rivers, and plains, and fitted them to the topography of their new domicile.
The same desire is reflected in the countless European place names in the United States, as the borrowed names had the power to project a sense of familiarity in a strange and unfamiliar land.