多维设计与策划模型：发现问题，深入洞察

我国北宋教育家张载曰：学则生疑。所有的思考源于质疑，这也是学习的开始。新时代的设计师应当对周遭时间或未知的领域充满好奇，具备敏锐的洞察力，养成关注社会、保持质疑的职业习惯。

发现不了问题才是最大的问题，同时把握问题的核心才能实现问题的改善。基于此，陈正达教授将发现问题、深入洞察的过程凝练为一种方法，指导设计师如何通过敏锐的感知力发现问题，卓越的洞察力提炼问题。该方法分为三步骤，分别是“遭遇与质疑”、“分析与诠释”和“聚焦与定义”。

1. 遭遇与质疑

对周遭事件或未知领域充满好奇，才能提出创见性问题和思考，“学起于思，思源于疑”，质疑是好奇的源头。设计师的人生就是在启疑、存疑、质疑的不断遭遇中，思真想、求真知的过程。设计，归根结底就是我们对生活的遭遇与质疑的回答。

所有思考源自质疑，质疑是学习的开始“质疑”是根据这些经历提出的问题，是从“启疑”到“存疑”再到“质疑”的过程。“遭遇与质疑”是设计师在现代社会中应具备的视野和习惯。新时代设计师需保持好奇心，敏锐地发现问题，并在日常生活中持续思考。发现问题是设计的起点，而质疑是深入理解事物的动力。设计师应避免被表面现象迷惑，保持冷静和理性，做一个批判性思考者。

方法论的第一步是从“遭遇与质疑”到“获取基本概要”，即初步了解和判断问题。设计师应从自己感兴趣的领域出发，关注社会热点问题，并通过数据调研、案例分析等方式深化对问题的理解。这一过程帮助设计师从“存疑”转向“质疑”，为后续深入研究和解决方案的提出奠定基础。

2. 分析与诠释

“分析与阐释”，这是从设计观察到设计思维的进阶过程。在此阶段，设计师通过调研分析，对问题的各个要素（人物、时间、地点、起因、经过、结果）进行深入探讨。这一步的调研相较于第一步的“遭遇与质疑”更为聚焦，目的是提炼问题的本质，明确设计的目标受众、需求及其背景。

“分析与阐释”要求设计师不仅仅停留在表面层次，而是从多维度（如性别、年龄、职业等）分析问题人群，结合“4W1H”模型（何时、何地、为何、何事、如何），全面理解问题。此时，调研不再仅仅依赖文献资料或网络信息，而是强调实地考察和真实场景中的数据收集。这一过程帮助设计师更准确地理解问题，避免仅凭虚拟资料作决策，推动设计方案的有效性。

“分析与阐释”通过深入的分析，设计师能够更聚焦具体问题，并激发创意灵感，为后续策略的制定和实施提供坚实的基础。此阶段的研究成果为设计问题的具体解决铺平了道路。

3. 聚焦与定义

第三步是“聚焦与定义”，是整个过程的核心。要真正理解目标人群的需求，最有效的方式是“成为他”，通过“同理心”去换位思考、体验用户的情感和需求。这不仅是消除个人情感的过程，而是从他者的角度深刻理解和体验，帮助设计师发现潜在问题和矛盾，避免主观臆断。

在此过程中，设计师通过实证调研的方法（如观察、访谈、对比分析和草模测试等）来获取更真实的数据。例如，通过观察目标人群的一天来发现问题，通过访谈直接获得答案，或通过文化对比分析找出背景差异。所有这些方法有助于准确识别目标人群的需求，并定义出核心问题。

“聚焦与定义”与前一步的“分析与阐释”相互配合，前者帮助设计师聚焦具体问题，后者则检验了问题阐释的合理性。在这个步骤中，设计师需要筛选并提炼出核心问题，这些问题通常是生活中的矛盾或需求，通过分析可以抽象成需要解决的核心问题。明确核心问题后，设计方案的针对性和解决效果将更具精准性和深度。

Multidimensional Design and Strategy Model: Discovering Problems, Gaining Deep Insights

Zhang Zai, a Northern Song Dynasty educator in China, once said: “Learning begins with doubt.” All thinking originates from questioning, which is also the beginning of learning. Designers in the new era should be curious about the surrounding time and unknown areas, possess sharp insight, and develop a professional habit of focusing on society and maintaining a questioning mindset.

The greatest problem is not discovering a problem, but rather understanding the core of the problem to achieve meaningful improvement. Based on this, Professor Chen Zhengda condenses the process of discovering problems and gaining deep insights into a methodology, guiding designers on how to discover problems through keen perception and refine problems through outstanding insight. This methodology consists of three steps: "Encounter and Questioning," "Analysis and Interpretation," and "Focus and Definition." 

1. Encounter and Questioning

Being curious about surrounding events or unknown fields is essential for posing creative questions and thinking. "Learning begins with thinking, and thinking originates from doubt." Doubt is the source of curiosity. A designer's life is a continuous process of encountering, questioning, and doubting, in the pursuit of truth and knowledge. Ultimately, design is the answer to our encounters with and questioning of life.

All thinking originates from doubt, and doubt is the beginning of learning. “Questioning” is the process of proposing questions based on these experiences, from "awakening doubt" to "holding doubt" to "questioning." "Encounter and questioning" are the perspectives and habits that designers should cultivate in modern society. Designers of the new era need to maintain curiosity, keenly discover problems, and keep thinking critically in daily life. Discovering problems is the starting point of design, while questioning is the driving force for deeper understanding. Designers should avoid being deceived by superficial phenomena, remaining calm and rational, and becoming critical thinkers.

The first step of the methodology is moving from "Encounter and Questioning" to "Acquiring Basic Overview," which involves gaining initial understanding and judgment of the problem. Designers should start from fields of personal interest, focus on societal issues, and deepen their understanding of the problem through data research, case analysis, etc. This process helps designers move from “holding doubt” to “questioning,” laying the foundation for further research and the formulation of solutions.

2. Analysis and Interpretation

"Analysis and Interpretation" is an advanced process from design observation to design thinking. At this stage, designers conduct in-depth exploration of various elements of the problem (people, time, place, cause, process, result) through research and analysis. This stage of research is more focused than the first step, with the goal of refining the essence of the problem and clarifying the target audience, needs, and background of the design.

"Analysis and Interpretation" requires designers not to remain on a surface level but to analyze the problem from multiple dimensions (such as gender, age, profession, etc.), combining the “4W1H” model (When, Where, Why, What, How) to fully understand the problem. At this point, research is no longer solely reliant on literature or online information, but emphasizes fieldwork and data collection in real-world scenarios. This process helps designers gain a more accurate understanding of the problem, avoiding decision-making based solely on virtual data, and promoting the effectiveness of the design solution.

Through in-depth analysis, designers can focus on specific problems and spark creative inspiration, providing a solid foundation for subsequent strategy formulation and implementation. The results of this phase pave the way for the specific resolution of design problems.

3. Focus and Definition

The third step is "Focus and Definition," which is the core of the entire process. To truly understand the needs of the target audience, the most effective way is to "become them," through "empathy" to think from their perspective, experiencing their emotions and needs. This is not only a process of removing personal emotions but also one of deeply understanding and experiencing things from others' perspectives, helping designers discover potential problems and contradictions, avoiding subjective assumptions.

During this process, designers obtain more accurate data through empirical research methods (such as observation, interviews, comparative analysis, and prototype testing). For example, discovering problems by observing the daily life of the target audience, obtaining direct answers through interviews, or identifying cultural differences through comparative analysis. All these methods help accurately identify the needs of the target audience and define the core problem.

"Focus and Definition" complements the previous step, "Analysis and Interpretation." The former helps designers focus on specific problems, while the latter verifies the rationality of problem interpretation. In this step, designers need to filter and refine the core problem, which is usually a contradiction or need in daily life. Through analysis, it can be abstracted into a core issue that needs to be resolved. Once the core problem is clarified, the relevance and effectiveness of the design solution will be more precise and in-depth.