IDEO’s partnership with Logitech is a case study in bringing together the power of imagination and the rigor of business.

As much as we love to lead with creativity, it’s difficult to develop a business plan off ideas alone. So when Logitech asked the IDEO team to investigate a broad array of possible futures and report back, we brought our findings to life by inventing a board game. Instead of a dry presentation on circular solutions, our designers created a story about a mouse that turned into a webcam.

That imagination mattered. It fueled an exploration into expertise we collected from researching with people already living in futures destined to expand. And our rigor helped us hold more possibilities, and identify intersectionalities. Combined, they redefined what it means for ideas to be viable in business; they focused us on long-term sustainability; and they pushed us past immediate technical feasibility to ask if new ideas would be feasible for entire systems.

Our partnership with Logitech revealed that imaginative dreaming and business rigor aren’t opposing forces, but rather complementary tools in opening up new directions into a future demanding bold decisions.

As of 2019, e-waste was the fastest-growing waste stream globally, and only 20% of the 48.5+ million tonnes is disposed of properly.

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Global emissions must be cut in half by 2030 to avert the worst impacts of climate change.

By 2030

Logitech has committed to becoming climate positive and removing more carbon than they create

Fast fashion keeps getting faster. But if the industry is to meet its climate commitments, its use of plastics has to slow down.

H&M chief executive Helena Helmersson set ambitious sustainability goals when she stepped into her role. She wanted to reduce the fashion giant’s impact on the environment and enable meaningful growth. But change is tough for any company, let alone one with eight brands operating across 74 markets. Together IDEO and the H&M Group created new plastic-free packaging, rallying around a more sustainable packaging solution that’s easily customizable.

By applying a design-led approach that went far beyond hiring a sustainability consultant, the H&M Group managed to reduce its use of plastic. But it didn’t stop there. A small team called Design Studio took what it learned and grew into an established strategic capability that pioneers new ways of working in the organization, tackling complex challenges in circularity, inclusion, supply chain, and customer experience. Sustainability isn’t a passing trend for H&M. It’s moving fashion forward.

Packaging accounts for 26% of plastics produced globally every year.

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Fashion e-commerce is estimated to grow by 10% annually through 2024, requiring even more packaging.

100M

plastic-free packages shipped in 2022

2,000 tons

of plastic eliminated from H&M operations

For children with physical disabilities and their families, mobility is freedom. But in Japan, there are barriers to that freedom of movement.

In raising a child with cerebral palsy, Yuri Matsumoto found that her son was separated from other kids during everyday activities. In Japan, children’s products are divided into two categories: those for children with disabilities and those for children without. Matsumoto aspired to close this gap with a product that would allow children of all abilities to use the same chair and be included in the same activities. To realize her idea, Matsumoto needed a strategic design company to refine the chair design, create a compelling visual identity, and arrive at a product road map to help set the business up for long-term success.

The result: a breakthrough product and supporting business that provides access for all kids, both for at-home activities like studying and eating, and also for family outings to restaurants, to the park, and to play with friends. Around the world, there are people like Matsumoto who see the need for better products in a very personal way. IDEO’s role is to help them realize their vision for a more inclusive future.

The Japanese health ministry categorizes 9.6 million people as disabled.
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In Japan, children with disabilities are largely excluded from mainstream classrooms. Government subsidized support chairs are designed for posture and stability. Their bulk and rigidity make venturing out with them challenging.
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Japanese children have fewer opportunities to learn about what it’s like to live with a disability than in the US.

Launched

officially in April 2022

5

restaurants and cafés in Tokyo are currently piloting the chair

There can be no growth for business if peoples’ basic needs aren’t met.

Carlos Rodríguez-Pastor, CEO of Intercorp, came to IDEO with an audacious goal: to address the most fundamental needs of his country’s people and grow his business at the same time. He’d been introduced to IDEO while attending business school in the U.S. and explained that he waited until he had a challenge that felt big enough to knock on our door. Together we built a high-quality school system that would cost just $100 per month—affordable for the middle class. That project convinced Rodríguez-Pastor and his colleagues of the power of human-centered design. Our blended teams launched an innovation hub to introduce new ways of working with the conglomerate’s 90,000 employees. And as we collaborated with Intercorp’s businesses in finance, retail, health care, and education, we learned more about how to serve the everyday needs of Peruvian families. Somewhere along the way, the ultimate design project became the organization itself.

And while Rodríguez-Pastor’s company has grown dramatically, he’s not one to rest on laurels. Instead, the company is becoming more ambitious: upskilling the country’s workforce through an online platform, and fulfilling its climate strategy by investing in Peru’s green economy. (The coastal nation is the world’s third most vulnerable to the effects of climate change.) While the pandemic dealt a blow to Peru’s economy, Intercorp remains steadfast in its commitment to supporting businesses that help the middle class thrive.

Peru’s PISA score of educational quality has grown by 10% in the past decade but still ranks in the bottom 10 worldwide.

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In 2020, approximately 68% of the total employed population was in some form of informal employment—jobs that offered no protection and in which workers paid no taxes. Although that percentage decreased over the previous decade, Peru has one of the highest levels of informal employment in Latin America.

55,000

students enrolled across 68 locations in Peru, Mexico, and Colombia

2.5x

increase in revenue from $2.9 billion in 2011 to $8.5 billion in revenue in 2021

As with any design challenge, we started by breaking the big question—what matters to us—into smaller questions. How could we bring the intimacy of our much smaller former office into this new space? How can we use our studio to bring diverse groups together, both within our office and in the broader community? And how do we celebrate our commitment to collaboration and making?

We created a list of priorities, and, together with our architects Feilden Fowles, found ways for our studio to reflect our values and support our work. Here’s a glimpse into what we focused on, and how it affected our design.

1. Focus on storytelling

The goal of the overall design was to create a natural flow through the new space that works as a design narrative, explaining how IDEO works and what it cares about—from that first view of the maker space to social gathering areas to projects and meeting rooms. The design is also open enough that it’s easy even for visitors to navigate without signs or a map.

“We wanted to showcase IDEO’s creative innovation on immediate arrival,” architect Fergus Feilden says. To that end, when visitors and employees walk in the door, they see a presentation wall with display niches that showcase the London studio’s work, as well as small meeting booths outfitted with pegboards for additional exhibitions. “We also brought forward the workshop into this area, and designed it to be as open as possible in order to immediately celebrate the making that takes place at the heart of IDEO’s design process,” he says.

2. Prioritize collaboration

Because our work is built on collaboration, it’s very important to us to provide teams with dedicated spaces they can make their own. We wanted these spaces to be open, flexible and inviting, and we purposely limited enclosed area to only those that are strictly necessary. Our work often entails not only helping to create a new product or venture, but building a team around it, so the spaces are meant to facilitate collaboration. “The layouts are fundamentally social, and even the divided rooms have glazed walls or windows to introduce natural light and maintain the ethos of transparency throughout,” Fergus says.

At the same time, because we often work on confidential client work, it’s important to be able to keep some projects private, so these spaces have been designed so that they can be closed off if necessary. Aside from the designated team spaces, there are also several break-out areas with soft furnishings or working tables for group meetings or individual workspace.

3. Talk less, do more

We wanted to make the workshop as accessible as any of the social spaces so that there are no barriers to making ideas tangible early. The idea is that you can walk directly from a meeting into the workshop and start building. It was designed to be neutral and understated—the life and color come over time from the projects and prototypes are teams are working on.

We’ve also limited meeting rooms to only two. When clients and partners come into our office, we don’t want them only to see the inside of a conference room. We want our teams to bring them into their work spaces instead. We also saw that many meeting rooms were actually mostly used for video calls with one or two people, so we put in phone booths that can fit up to four instead.

4. Embrace ambiguity

We know as well as anyone that a design that seems ideal today might not support the work we take on down the road. “A key part of the original brief was to allow a ‘loose-fit’ transition into the new space, and to provide a backdrop to IDEO’s creative process—not an over-designed space, and one that doesn’t shout,” Fergus says.

By keeping open space, making designed work areas extremely flexible, and making sure to maintain social spaces for everything from events to client dinners to casual coffee with coworkers, we’re keeping the doors open for all kinds of projects and functions. “In theory the whole studio is flexible to host different sorts of working including the coffee bar, dining and terrace spaces as well,” Fergus says.

Above all, though we wanted to create a space that our community could bring to life—the teams in our studio, the clients we work with, and members of our greater community. We’re a company founded on the idea of working with friends, and this space was built to enable that philosophy.

At IDEO, our values are the guideposts for everything that we do. And that commitment extends to our office spaces. As our London studio looked to create its new home, we envisioned an environment that embodies design and innovation, serves as a hub to welcome clients and visitors, and sets a tone for our employees to do their best work. And, as designers who work on projects that help shape the future, we also wanted to be sure that the design would be flexible enough to fit our needs and work for years to come.

Creativity Challenge # 4: Lessons from observing human behavior

A fundamental principle of innovation or creative thinking is to start with empathy. On the path from blank page to insight, sometimes people need a tool to help with what comes next: synthesis. You’ve gone into the field in search of knowledge, meeting people on their home turf, watching and listening intently. But synthesizing all that data can be a little daunting.

Take control of your field observations by organizing them with an “empathy map”—a tool inspired by IDEO and further developed at the Stanford d.school.

Tool: Empathy Maps
Participants: Solo or groups of 2-8 people
Time: 30 to 90 minutes
Supplies: Whiteboard or large flipchart, Post-its, and Sharpies

Instructions

Step 1: On a whiteboard or a large flipchart, draw a 4-quadrant map. Label the sections with “say,” “do,” “think,” and “feel,” respectively.

Step 2: Populate the left-hand quadrants with Post-its that capture each of your individual observations—using one Post-it per idea. Place observations of what people do in the lower-left quadrant, and place observations of what people say in the upper-left quadrant. Try color-coding positive things with green Post-its, yellow Post-its for neutral, and pink/red for frustrations, confusion, or pain points. The key is not to record everything, but instead to capture what stands out.

Step 3: When you run out of observations (or room) on the left side, begin to fill the right side with Post-its, inferring what people think in the upper-right quadrant and what they feel in the lower-right quadrant. Pay attention to people’s body language, tone, and choice of words.

Step 4: Take a step back and look at the map as a whole. Try to draw some insights or conclusions from you have just written down, shared, and talked about. These questions serve as a good prompt for a discussion of insights. What seems new or surprising? Are there contradictions or disconnects within or between quadrants? What unexpected patterns appear? What, if any, latent human needs emerge?

Tips from the Field

The key to extracting value from observing human behavior is to come away with real insights. This can be challenging, but the exercise is worth the time and effort. As you build up confidence, ask yourself, “Is this a real insight?” Our advice is to look for takeaways that help you see your topic or subject from a new perspective. Try to come up with several that feel novel. As you spend more time with others exploring your topic or subject, patterns will emerge. Some insights will prove to be more pivotal than others.

This post was taken from Chapter 7 of Creative Confidence. Purchase the book for more on how to use creativity to solve problems.

Everyone is creative. This belief runs through everything we do at IDEO, and in 2013, it led my brother David and me to write a book that would help others—even those who don’t think of themselves as “creative types”—to unleash their creative potential. Creative Confidence has inspired thousands of people to adopt a creative mindset and apply it to the diverse real-world challenges they face. In this series, we’ll share some exercises from the book that can help you approach your challenges from a new perspective.

It’s yet another summer at our seaside house, and my nonna is heading to the gardens to pick up some herbs for her pesce al forno. She says that freshly picked lemongrass adds a completely new flavor to her signature dish.

At 12 p.m., she walks down the rocky stairs and heads to the herb bush she carefully planted 33 years ago, the same year she bought the villa and restored it to host our ever growing family tree. As I watch her, I witness something unusual that I have never seen her doing before.

She is literally hanging from the muretto, or wall. Nonna is 94 and not really a geriatric athlete, so I run towards her. “Tutto bene, Luca!” she says as she bends back up. She tells me that this is ‘her new way’ of picking herbs in the garden.

With age, small actions become a big effort, so leaning down or bending started to become an obstacle to her recipes. The dwarf wall serves the purpose of protecting her back from injuries and keeping her from falling. As she nicely puts it, “I use gravity to my advantage. At my age, you have to find ways around things, to keep feeding your family the way they deserve.”

Human-centered design requires us to observe human behavior with beginner's eyes, so that we can spot the innate ways people interact with the world around them. We call these intuitive and unconscious reactions Thoughtless Acts, and IDEO designers collect photos of them to inspire their work.

Drawing in VR is a whole new world—one that feels as challenging and daunting as drawing once felt. Luckily, having progressed through hard work in one artistic field, I now trust that the same steady pursuit can get me to a new level in VR.

I recently joined IDEO’s New York office, and part of my job is to keep current on emerging technologies. So I took advantage of our studio’s newly-mounted VR station and spent a week drawing in Tilt Brush, Google’s 3D painting VR app. Together with IDEO’s creative technologist, known as Fuzzy Wobble, I came up with a goal:  to draw a 3D portrait of IDEO’s David Kelley.

For anyone curious about making things in VR, this post will give you a sense of what to expect, the hurdles you may encounter, and the fun you can have.

Day 1: Getting started

Okay, it’s hard. And it’s almost nothing like drawing with a real brush (no matter what the ad says). The definitive difference is that there’s a whole dimension added to your brush strokes, so you are constantly falling into open space while trying to make what used to be a simple line on a paper. This poses a technical challenge, but as you figure it out, it opens the opportunity to instantly create lots of cool “dimensional” animations using different brushes.

Let’s review some of the fundamentals:

Uploading a reference image

My first step was to figure out how to put a photo of David Kelley into my VR bubble for use as a reference image. This can be done pretty easily within the Settings panel (gear icon) / Labs panel (flask icon) / Reference Images. That would be the first fundamental thing for bringing any graphical reference into your personal VR drawing lab.

Choosing a brush

After trying them all, I settled on a simple wire brush. I recommend it as a first step on the ladder of your immersive experience because in comparison to calligraphic and wide-angle brushes (not to mention special effect and animation brushes), it offers even sides and predictable behavior.

Using three-dimensional guides

As I mentioned before (and as you can see from the portrait progress so far), it’s quite unusual to think within the 3D space while drawing, so the first handy tool I discovered was guides. If you came from a graphic or web design background, as I did, you’ll instantly notice that nasty extra dimension added to them as well. A good way to start here would be to compose your portrait (or whatever you want to draw) as a set of shapes, similar to how you’d be taught in a classical art class, and then adjust them until it feels done.

Day 2: Getting better

The second day started with an attempt to combine multiple shapes (using guides) into what would resemble a human silhouette. I decided to get away from Kelley portraits for a moment and gain general confidence in drawing in VR by fooling around and building “robots.”

Simply put, you stack a couple of 3D guides on top of each other and paint over them, like I explained above. It was easier than I’d thought it would be, so after spending about an hour assembling those statues, I switched back to Kelley and here’s what I’ve got.

Day 3: Drawing without guides

Day 3 started with an attempt to break free from floating yellow bubbles and get a little bit more real. I browsed Google Poly Gallery for some inspiration and came back with the above. It still looked far from good, but I finally felt some progress in terms of confidence and drawing without guides. The next challenge was to learn how to properly fill my surfaces without creating a total mess.

I hope the following sequence of GIFs shows some progress:

Day 4: Finding new applications

Since there was only one day left before the conclusion of my little experiment, I decided to try out more brushes than just the “wired” one, and I must say, renderings of those were executed really well within Tilt Brush. My doodles instantly got more texture, depth, and light reflections without any additional settings on my side.

My takeaway

Disregarding the fact that my drawings didn’t get anywhere close to perfect in the first week, I’ve had lots of fun drawing in space—an experience that was practically unavailable to anyone without a spacious drawing studio and a Matisse-like drawing setup prior to VR headsets. To build on top of that, I can’t help but to mention that VR drawing quite effectively stripped the 3D creation experience from its clumsy and complex environment, switching its engineering component into a purely artistic one, and making an entry point that’s surprisingly easy for everyone. That may sound optimistic but that’s exactly the path that graphic design or photography made through the last century—from being an exclusive skill that only few could master to being something that everyone can try and start getting better at.

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I used to think drawing was hard. Maybe because I was bad at it. But it’s my personality to court challenge, so at some point I decided to commit to improving my skills. I attended drawing classes and worked with a personal tutor to develop a daily drawing habit, and while I wouldn't say I think drawing is easy now, I'm more comfortable with it than I was. So I've decided to reset my learning curve to zero and try mastering a new medium: drawing in virtual reality.

I help organizations cut through complexity by shaping how they show up, through brand strategy, identity, and storytelling.

Working at the intersection of brand and business, I bring an editorial eye and a bias toward making—turning ideas into tangible experiences that people can understand, trust, and believe in.

My work spans government, healthcare, financial services, media, and consumer goods, from launching Gen Z-focused ventures to building innovation labs and reimagining legacy brands. I relish moments of ambiguity and enjoy translating across teams, perspectives, and priorities to move ideas forward.

I started my career in editorial and digital design, shaping cross-platform experiences and identity systems in publishing and agency environments. That foundation still shapes how I work today: I’m detail-oriented, collaborative, and overreliant on the Oxford comma. I hold a BFA in Visual Communication from the School of the Art Institute of Chicago.

For 25 years, I've asked the same question: Who does this design exclude—and what are we going to do about it?

My work spans human-centered strategy, inclusive design, and qualitative research, with clients ranging from Microsoft, Google, and Verizon to the National Science Foundation, and San Francisco Unified School District.

Before IDEO, I taught elementary school in East Palo Alto and spent a decade doing design work with social service organizations—where I learned firsthand what it costs people when systems are built without them in mind.

I am currently writing User Error, a nonfiction book about digital access and the design decisions behind it. I live in Oakland, California.

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My expertise spans brand, communication, and product design across tech, education, the arts, and social impact.

I believe great work demands both high-level vision and obsessive attention to detail, and only happens through collaboration.

I bring an inclusive, hands-on approach and a deep understanding of business, which enables me to consistently deliver excellence while always asking why.

Before joining IDEO, I worked at the brand firms Pentagram and VSA Partners. I began my career as a designer, leading teams at the School of the Art Institute of Chicago and the Milwaukee Art Museum. I hold an MFA in graphic design from Maryland Institute College of Art and a BFA in communication design from the Milwaukee Institute of Art & Design, and have taught at some of the best design schools in the US.

I am responsible for IDEO’s long-term success in China and working with clients to use design as a tool to enable growth. Specifically, I have helped Chinese companies design holistic brand solutions through the development of their products, communication, services, and innovation teams, and I have helped multinationals expand their presence and influence in China.

I advise global leaders on developing China-led innovation and capabilities.

In over 15 years in IDEO Shanghai, I have worked on projects that use design to elevate the quality of the experience of healthcare products and services, streamline processes that increase productivity, create spaces and programs that promote and enable inclusive communities, and build next generation mobility solutions that are planet-positive.

Before joining IDEO, I worked at Philips Electronics and the Electrolux Group in Italy, the Netherlands, and Singapore on a number of breakthrough commercial products. I am a member of the Young President Organization in Shanghai.

Most AI products today are built for work—a space with clear problems and established systems. One founder noticed a gap: personal life is messier, harder to systematize, and mostly left behind by the AI boom. So she built Cue, a personal AI that lives inside iMessage and group chats, to go where the other tools haven't.

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In this episode, Becca Carroll, IDEO's Chief Strategy Officer, talks with Sida Li, co-founder and CEO of Shared Context Lab, about staying anchored to a human need while the technology around her keeps changing shape, why she treats her business model with the same rigor she'd bring to a product, and what it feels like to build a company at this particular, disorienting moment in AI.

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The conversation also gets into how Sida makes design decisions: the language Cue uses to describe itself, the tradeoffs behind building inside iMessage instead of a new app, and a real story about a business idea that didn’t pan out.

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This is the second in a two-part series profiling founders from IDEO's Startups-in-Residence program. The first conversation is with Johannes Seemann, founder of Sooner, on designing GenAI for the emotional side of money.

Most personal financial tools are built to run the numbers and optimize towards a budget. While that works for some, most people experience money as a lived relationship that does not neatly fit into a spreadsheet. Johannes Seemann and Becca Carroll discuss why money is emotional before it is mathematical, and what a human-centered approach to building a generative AI financial product looks like in practice.

Mina Seetharaman talks with Scott Shigeoka, author of Seek and Head of Curiosity Cultivation at the Eames Institute, about what distinguishes genuinely curious leadership from performative curiosity, how power dynamics shape curiosity, and why practicing curiosity can restore energy rather than drain it.

Mina Seetharaman talks with David Epstein, author of Inside the Box and Range, about why total freedom often produces average work, how leaders can design useful limits on purpose, and what organizations such as General Magic and Pixar reveal about the relationship between boundaries and creativity.