When it comes to food, we often have to choose between health, convenience, and taste. Parents struggle to get their kids to eat veggies. The same daily salad can become boring or bland over time. Produce often withers in the crisper drawer.

Betterer Foods set out to make one of the world's favorite foods healthier. Rice is a beloved food across many cultures, but many people now avoid simple carbohydrates due to diet restrictions or health concerns. Innovations and alternative options have mostly been limited to products in the freezer section, like riced cauliflower.

Betterer Foods created RightRice: a dry, shelf-stable grain made from rice and vegetables, including lentils, chickpeas, and green peas. RightRice has more than double the protein, five times the fiber, and 40 percent fewer net carbs than traditional rice. But the product still tastes and looks like rice, and is faster and easier to cook.

RightRice founder Keith Belling, the founder and former CEO of popchips, asked IDEO to design a brand that would communicate the product’s benefits. The start-up needed everything from a defined target consumer and brand story to a stand-out package design, website, and go-to-market materials.

The team listened to people's challenges with rice and eating healthfully: home cooks find it difficult to store fresh foods without them going bad, busy professionals are strapped for time when preparing balanced meals, and parents sneak vegetables into dishes like casseroles or mac and cheese. Some consumers say they avoid rice because it’s a carbohydrate, which is forbidden in so many of today’s diets. People describe themselves as “carb phobic” or say they consider rice a “guilty pleasure.” Others don’t eat rice because it makes them feel sluggish or bloated, or is too difficult or time-consuming to prepare. Overall, people wished rice could be healthier, simpler to cook, and still taste delicious.

IDEO translated these insights into a brand foundation that helped RightRice come to life on shelves, online, and in the world. The package messaging emphasizes the vegetable ingredients, and the cut-out window lets consumers see that the product looks like rice. The shape of the window simultaneously forms a bowl of rice and a smile.

Rice is a household staple around the world. The RightRice brand makes it easier for consumers to have health, convenience, and good taste in one accessible product. RightRice launched nationwide in Whole Foods and Amazon in February 2019.

Since this launch, the company has expanded both its reach and product line. RightRice is now available in nearly 5,000 retailers nationwide in addition to Whole Foods and Amazon, including Sprouts, Wegmans, and approximately 1,800 Kroger stores. Over one million bags have been sold.

The company has received numerous awards and acclaim, including being named “Best Plant-Based” by People’s 2019 Food Awards. Building on the success of RightRice, Belling and his team launched RightRice Medley, a blend of RightRice, ancient grains, and vegetables, in 2020. This new product, which features the same branding the company created with IDEO, has doubled the company’s shelf presence at Whole Foods.

After 40 years of rapid development, China's economic growth has reached a critical turning point.

However, looking at the world, today is also the most complex and uncertain era in human history. The traditional engine of economic development is slowing down, while innovation and other emerging ideas are helping the economy burst into dynamism. To ride this trend, China has already put in place comprehensive policies to ensure that the country can achieve this magnificent transformation—not only to maintain economic growth, but also to achieve high-quality development. To this end, what China needs most is a group of new business leaders with a sense of cooperation and innovation to lead and realize this change as a pioneering force.

People of insight can often see the situation clearly with a forward-looking eye. China's society and economy are undergoing transformation and upgrading, and market demands are constantly changing driven by technology. While seeking business development, many mature entrepreneurs with successful experience have realized that they need to explore some of the most essential issues inwardly, including: The original intention and mission of the enterprise and the role that enterprise leaders should play. However, without a systematic approach, transformation and upgrading, strategic decision-making, management mode and cultural construction cannot truly serve the enterprise

As a top institution of higher learning in China, Tsinghua University has always placed an important strategic position on cultivating innovative talents for China. IDEO is the world's leading design and innovation consulting firm. As a pioneer of design thinking, IDEO has always been committed to applying design and innovation capabilities to solve the world's most complex problems. After discovering the need for China's economic and social transformation and the need for innovative leadership by Chinese entrepreneurs, Tsinghua University and IDEO jointly launched the "Leading China" program in 2018. This program is aimed at senior management of Chinese enterprises, and aims to train entrepreneur trainees to use new perspectives and ideas through a one-year innovative leadership course to seek solutions for the systemic changes that need to be achieved in the process of social transformation in China.

The students of the first "Leading China" program came from more than 30 entrepreneurs from 20 different industries. The teachers who participated in the lecture included 73 Chinese and foreign experts including Shan Jixiang, the former dean of the Forbidden City, Masahiro Kuroyama, the father of Japanese industrial design, and Jake Knapp, the inventor of "Design Sprint". As China's first innovative leadership course with design thinking as the core, the project is equipped with "design to open enterprise creativity", "reshape enterprise competitive advantage", "forge innovative business system", "innovate with the help of finance", "embracing Industrial Revolution 4.0" and "Win-win China Created 2030" six modules. The trainees traveled to nine cities in one year, and completed the courses in the interactive teaching of inspiration and the exchange and sharing of practical experience. Many students said that the course not only helped them find the direction and path of enterprise reform, but also improved their way of thinking, strategic planning and leadership models.

Liu Feng, the founder of Top Intelligence, gave an example of the inspiration brought by the six pillars of "vision-led" enterprise reform. Through "vision leadership", he not only sorted out the original intention and values ​​of the company, but also launched a series of measures based on this starting point, which improved the company's various aspects from the telephone customer service process to the organization of the annual meeting, and mobilized the enthusiasm of employees. This greatly improves the company's efficiency and flexibility. Ting Zhihong, chairman of Hongtu Logistics Co., for example, said that the biggest change brought by the course is her awareness of the importance of empowering the team. The company has now built many platforms to give employees more room to play, to create markets, to put decision-making on the front line, and to let employees play the role of company operators. Her company doubled its profits in 2018. Hu Chao, founder and CEO of Leyou Pregnancy and Baby, introduced that what most executive courses learn is knowledge, and what this course learns is people-oriented values ​​and ways of thinking.

The students of the first class of "Leading China" graduated in December 2018. Regarding the course of this year, Wang Jingwei, former assistant dean of the PBC School of Finance, Tsinghua University, commented: "Since the project was launched, we have not only witnessed the true value of design in a business context, but also experienced first-hand the use of people-oriented The difference between the designed executive courses is that the entrepreneurs who participated in the courses quickly entered a state of immersive learning, and many students quickly began to practice the methods they learned in the enterprise.”

On April 8, 2019, the list of winners of the 3rd "Changing the World Innovation Award" was announced, and the "Leading China" project was shortlisted for case nomination, becoming the only Chinese innovation case in the education category. The "Change the World Innovation Award" was announced by Fast Company, one of the world's three major financial and business media organizations.

As one of the world’s leading smartphone manufacturers, the Chinese brand vivo is widely known for its exceptional technological innovation and top-of-the-line photography and gaming hardware. But in an increasingly saturated phone market, vivo understood that it wasn’t enough to lead the pack based solely on technological excellence. To win the hearts of young Chinese consumers, they needed to become a beloved brand.

China consumes roughly 30 percent of the world’s smartphones, presenting a tremendous market opportunity to brands who wish to capture young consumers’ loyalty. In order to achieve that, vivo wanted to design a complete brand experience beyond the devices themselves—one that would express the joyful vivo brand spirit through services and retail experiences. One of their first key initiatives was to build its first concept store in an iconic building in Shenzhen, China.

Before building the concept store, vivo approached IDEO to explore what kind of in-store experience would resonate with young Chinese people. The concept store needed to convey joy in a meaningful, tangible way, while also setting the stage for vivo’s future brand systems. With this in mind, IDEO set out to explore how vivo’s young consumers experience fun.

After conducting research in four different cities, IDEO shared the stories of young Chinese consumers back with the vivo team. Their interviews revealed that young people value experiences that enrich their lives and create a feeling of positive personal transformation. They seek opportunities to expose themselves to new experiences, express themselves in different ways, expand and deepen their social connections, and build knowledge and skills.

Through this understanding of how young Chinese define “enjoyment,” IDEO helped vivo identify the value proposition of the concept store as expressing oneself in new and different ways. The store would allow every visitor to see something unique and find a fresh perspective. The vivo team took that value proposition into a design brief and later built out the space and interactive experiences.

The concept store launched at Shenzhen on March 22, 2019, featuring an upper level dedicated entirely to interactive experiences with photo booths, sound recording, and lighting technology. The engaging, lively and positive atmosphere of the store represents a major milestone in vivo’s transformation from a smartphone maker to a consumer brand.

WATCH: Official launch video provided by vivo.

As China's agriculture moves towards scale and sustainability, helping farmers grow healthier food with resilience is a matter of national economic security and individual livelihoods.

Bayer Crop Science—with its mission to accelerate China's agricultural modernization and benefit Chinese farmers and consumers—has provided high-quality products for millions of growers in China over 18 years. Yet its service relies heavily on multi-layered distributors and retailers across the country. The last mile of Bayer’s product delivery spreads across tens of thousands of highly fragmented retail stores, making the quality of service difficult to monitor and control.

Together with IDEO, Bayer Crop Science aimed to uncover new ways to engage with local farmers and retailers, and develop design concepts for its diverse set of retailers—establishing local relevance as well as the potential to scale nationwide.

With this ambition in mind, a team formed by Bayer Crop Science and IDEO launched into a design sprint in the rice fields of China’s Anhui province. Field research uncovered multiple challenges facing Bayer Crop Science’s retailers. First, each store needed to serve more than one hundred farmers, many of whom rely solely on the store owner to understand how to use the products. Retailers struggled to meet a high daily demand for direct support in a way that provided a positive customer experience.

In turn, farmers felt they had insufficient access to expert advice. While many farmers shared similar needs, there was no system for aggregating requests or arranging group instruction. Given that many rice farmers are illiterate, pre-printed educational pamphlets had limited impact, and retailers lacked tools for providing targeted support. And because the retail stores were also used for storage, little space remained for educational or community programming.

With these constraints in mind, the team needed to come up with ideas and design concepts that could be easily integrated into the daily lives of the retail store owners. The team brainstormed hundreds of concepts and quickly prototyped a select few. One retail store in Dangtu was transformed entirely into a live prototype set. Over three days, more than 50 farmers and retailers came through and provided feedback. From there, the team was able to make daily iterations of the concept, evolving the experience in real-time.

The Bayer team was energized by the potential of these prototypes to enable more customer-centered retail experiences. An exhibition of the concepts was set up during the National Annual Sales Conference of Bayer Crop Science in China, during which a much wider audience from Bayer experienced not only the concepts, but also the immediate feedback from farmers.

One year after the project’s completion, more than half of the design concepts have been included in Bayer's support kit for dealers. In 2019, these concepts will be rolled out in more than 1,000 flagship stores across China.

The work has also accelerated Bayer Crop Science’s efforts to build an ongoing engagement mechanism with its retailers and growers. Its online platform, Bayer Joy Grower, now has more than 10,000 retailers and will be expanded to growers soon.

Throughout all those years, from the machine shop to the digital shop, regardless of the technology we’re using or the problem we’re trying to solve, what has really gotten things done is ingenuity and creative thinking—especially in the face of dire cost and time constraints. A little bit of luck never hurts either.

So without further ado, here are my four favorite workarounds of my last decade and a half at IDEO.

2001: Using an Oscilloscope to save the sunroof

The challenge: The sunroof in your car is an invitation to luxury—catch some rays, feel the wind in your hair. The problem is, when driving at certain speeds with the sunroof open, a distinct and unpleasant booming noise can occur, making the experience rather less glamorous. The sound, a quick, repetitive thumping, is called “buffeting.”

Carmakers couldn’t figure out what to do about it. A luxury automobile company hired IDEO to find a way to make it stop.

IDEO’s workaround: My colleague Thomas Enders and I borrowed a brand new Mercedes-Benz and went for a ride! We brought along an oscilloscope (or “O-scope”) to measure the frequency and intensity of the sound waves of the buffeting effect at various speeds. With Thomas at the wheel, I held the O-scope, connected to a barometric sensor. This way, we were able to measure what was happening every time the buffeting started up.

What we discovered was that closing or opening the sunroof a small amount would change the dynamic of the air space in the car, and the buffeting noise would stop. So we designed a circuit that could detect buffeting and automatically adjust the opening of the sunroof to get rid of the annoying noise. Cruise on, in unimpeded luxury!

2002: Turntable-testing stylus materials

The challenge: Handspring, a company that produced hand-held PDAs (remember those?), looked to IDEO to find the best, most durable material to use for their stylus pens. We narrowed it down to a few polymers of various densities, but we had to figure out how to effectively test the materials for wear and friction over time.

IDEO’s workaround: We bought an $8 record player at the local Salvation Army, and replaced the needle with the various materials we were testing. Then we started it up and used a tachometer to track revolutions and measure distance and speed. Now we can brag about our DJ skills.

2012: Making the functional fashionable with paracord

The challenge: We worked with Vodafone and fashion designer Richard Nicoll to create a purse that could charge a mobile phone, while also being stylish enough to work the catwalk at the London Fashion Show. Part of the design was a small charm that hung outside the purse and flashed LED lights to signal incoming calls and text messages. We needed to find a coating for the charm that would protect the LEDs without being a fashion faux pas.

IDEO’s workaround: While we were brainstorming materials, I looked down at the bracelet I was wearing. It was made of paracord, commonly used for the strings of parachutes. Paracord is extremely durable, and it’s sold in a plethora of colors and patterns. We ordered a few strands online and found that we could remove the sheathing from the outside of the cord. We dressed the charm’s electrical cord with the sheathing from paracord, and voilà ! It gave the high-tech handbag a clean look and feel that was fit for the catwalk.

2013: Cooking circuit boards in a toaster oven

The challenge: Today’s electronics can be minuscule, and that means soldering up a printed circuit board (PCB) by hand can take forever. People who build a large number of PCBs use reflow soldering technology, but the necessary equipment is extremely expensive.

IDEO’s workaround: We decided that, given the type of rework electronics we do, it would be a good idea to tap into the mindset of the DIY community. Taking a page from their book, we bought a standard toaster oven. We fired it up and tested different temperature profiles and various types of solder paste, and soon came up with a working reflow soldering system.

Illustrations by Ina Xi

In my 15 years at IDEO, I’ve had a hand in roughly 130 projects. Some of the technologies I’ve worked on have become obsolete, like component research that required dozens of part catalogs (now, we just use the Internet). Many, though, have become the foundation for newer technologies, like discrete components, which were developed into MEMS sensors. And some, like the first Olympic torch to use LEDs rather than a flame, have been the very first of their kind.

IDEO New York developer Francis Tseng is—in his spare time—searching for a solution to the problem by exploring its root: the relationship between content and code. Tseng received a grant from the Knight Foundation to develop Argos*, an online news aggregation app that intelligently collects, summarizes and provides contextual information for news stories. Having recently finished version 0.1.0, which he calls the first “complete-ish” release of Argos, Tseng spoke with veteran journalist and documentary filmmaker Jason Cohn about the role technology can play in our consumption—and comprehension—of the news.

How would you describe to my mom, who just got her first smartphone, how Argos works and why it’s useful?

I’d say that it collects all of the important news and tells you exactly what you need to know about it. Instead of tracking separate publications, it pulls in new articles from a variety of different sources (right now, just a few major publications) and condenses everything into a set of bullet points. Argos uses a technique called “hierarchical agglomerative clustering” (HAC) to organize news stories. HAC takes each individual article and compares it to every other article, and comes up with a number representing how similar they are, on a scale of 0-1. If the similarity is above some threshold—say, greater than 0.7—the articles are considered to be talking about the same event, and they are grouped together into “event clusters.” The same HAC clustering technique is then applied to the event clusters to organize events into “story clusters.”

A sentence ranking algorithm generates a summary of each event cluster by analyzing the text of every article in the cluster and assigning an “informativeness” value to each sentence. It then takes the top five highest-ranked sentences and forms a summary. Right now I have a very simple version implemented, but the long-run focus will be on improving these core algorithms that do the heavy lifting.

Are journalists necessary anymore? Have I been replaced by an algorithm?

I personally don’t think that journalists will be replaced, at least not for a long time. Someone still needs to go out and do the research and the original reporting to get the information that the algorithm uses, which seems like the hardest and most valuable part of journalism.

It seems like some new tech applications derive from the recognition of a new technical capacity, which you then look for novel ways to use. In other cases, it begins with the recognition of a need, and you look for extant technologies that provide a possible solution. Which way did you approach Argos?

Both. I’ve always had a fascination with artificial intelligence, and that fascination has probably made me more sensitive to problem areas where AI approaches could be applicable. Personally, I find information overload, especially when it comes to keeping up with the news, really anxiety inducing and overwhelming, and I think because I was already familiar with some of these text processing techniques, it made sense to try applying them to this particular problem.

I’m glad you brought up information anxiety and overload. I think it’s a huge barrier to understanding the news today. There is so much information and analysis, but I don’t trust any of it, and I don’t know how to begin to get to the bottom of what’s really happening. Do you think Argos, or technology in general, can be an aid in this problem?

That's a particularly good example of the fact that there are different kinds of information overload. There’s one that is just about having too much information, but there’s another that is about figuring out which information you can trust. In general I would say technology has the potential to salve these kinds of anxieties, but it can just as easily do the opposite. More than anything, I hope Argos reduces the problem rather than adds to it, but one of the big failings I’ve felt with this first version is that it doesn’t accomplish that; it ends up generating more noise. Based on the feedback I’ve gotten, I'm looking at new designs and reevaluating techniques in order to rectify that.

What did you learn through building the first version that will influence the next one?

When I originally conceived of Argos, I was (and probably still am) naive about the extent of the issues that plague digital journalism. The more I looked into it, the more problems came up. Initially, the idea was about reducing information overload, mostly by supplying missing context to stories. But after completing this first version, I think that reducing overload and providing context might be really big and different issues. So right now I’m trying to determine how—and if—they can be solved simultaneously.

You mean because providing more context increases—by a lot—the amount of information a news consumer requires?

Exactly. The other main goal was increasing the understanding one got out of reading the news, which is what context is supposed to help with. But that’s kind of useless if all that information ends up driving people away from reading the news in the first place.

What changes are you planning for the next version of Argos?

In the first version the design was focused more on providing an experience similar to a traditional news publication or news reader. The app was organized around different feeds, or streams, presented as full-screen images with the title and summary of each event.

One issue was that the design wasn’t distinct from other news readers—you can’t really tell from looking at it that it’s offering anything different from a traditional RSS reader or news application. And it’s really hard to expect that every news story will come with a nice big image. Also, though, I think that in approaching the app as a traditional news publication, I missed the point of what I was trying to accomplish. The feedback I've gotten has helped me understand that Argos can have a more useful and unique place in being kind of a “daily scan” of the day's news events. So the new designs are more akin to brief updates about events around the world, to provide people with an entry or starting point for reading more and getting involved in discussions.

And you give them avenues for digging deeper into contexts and definitions?

Yes. The original source material is there to read, and context is optionally provided. You can choose to read more about the event itself, or about the people, places, organizations, etc. that are involved.

What about the issue of bias? As journalists, we’ve always had to be wary of our sources. And as consumers of news, it’s always been a good idea to assume that someone with an agenda is feeding reporters their information. How does Argos handle biases and opinions that are embedded in a story?

The issue of bias in journalism is one of those big problems that cropped up when I looked more closely at what I wanted Argos to do. It seems like a perennial issue. One potential solution is that, if you sample a large enough set of publications, bias might “average out,” so that any summary that is formed from their aggregate has less bias than any individual article. I don’t know if that works in practice though. My cop-out answer would be that Argos isn’t really trying to solve the problem of bias, but personally I hope that one day it can. Looking at the history and associations of the author who wrote the piece could actually be a very good technique. In the new version of Argos, I want to incorporate more community dialogue around the events and stories. In my experience, a lot of these issues about bias—being as complex and nuanced as they are—are best hashed out by individuals discussing them.

I think I have to disagree with you on that! My feeling about web comments on news stories is that they rarely shed much light relative to heat.

It is very difficult to pull off correctly. A lot of comments devolve into knee-jerk shouting matches. Occasionally, though, I’ve found something really insightful. On Reddit, sometimes experts will come in and succinctly explain things, and every once in a while you see a very levelheaded discussion about a story. I think the potential is there, but it’s hard to get it right.

One thing I’ve been focusing on is that I’m trying to get my hands mostly on reporting that’s coming from the field. The rest is just analysis, which, in my opinion, is more susceptible to ideological influence.

Yes! I have been thinking a lot about how to incorporate grassroots and community reporting. I’m dissatisfied with Argos’s current approach of relying on major publications, but it’s just easier at this stage.

Do you need to have content licensing relationships with news organizations to harvest the data or can you just… borrow it?

It’s possible this usage of the content falls under the terms of “fair use.” All the original articles are cited, and I’m hoping that these high-level summaries can interest people in reading the original posts. Since things are still quite experimental, I’m not worrying about the potential legal consequences now, but at some point I will want to talk to the publishers.

It seems to me that one really useful type of story for Argos is something like the lost Malaysian airliner. There was a big burst of real news when the plane disappeared, and then there was an endless cycle of conjecture and empty reportage with very little actual “news.” If you were following that story on Argos, would you avoid being updated every five minutes to discover that they still haven’t found the missing plane?

Yes, if the clustering algorithm works well enough, it should be able to recognize that these articles are talking about exactly the same thing as the ones from last week, so it’s not a new event.

It would be nice if cable news worked like that.

Maybe with Argos it will!

*Argos is a personal project of Francis Tseng's and is not affiliated with IDEO.

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Digital journalism has evolved to a point of paradox: we now have access to such an overwhelming amount of news that it’s actually become more difficult to understand current events.

Generative art, or art derived from computer code, is a relatively new format, in which the artist-programmer realizes a vision or idea by defining parameters and commands. But making generative art is, in many ways, just like painting or any other classical fine art.

When you create a painting, you start with an inspiration and sketch it on paper. You then prepare your oils, brushes, and canvas, and you refine the painting until it’s just right. I follow a similar process with generative art. When something inspires me, whether it’s a contour map in a geographic magazine, a chart representing a mathematical formula, or the various mechE tools in my father’s workshop, I sketch it on paper and jot down the keywords that best describe it. Then, I sit down at my computer and compose the code (using the Python programming language) that will “paint” the right “brush strokes.” I run the code to generate images on my computer, and go through multiple iterations until the code outputs the shapes, colors, opacities, and shadows that perfectly express my original idea.

I leverage the power of my computer to generate the artwork. Where a classical fine artist would pull out their oils and brushes to express colors and shapes, I do the same with parameters. For example, I defined a palette of colors for painting waves like this:

As if the computer was a hand holding a brush, I tell it how to paint by defining command codes, like draw_wave:

Delightful randomness

While most of the parameters in my code are set statically, I have also added an algorithm that allows certain parameters to be generated randomly, so the visual elements of the image change randomly within a defined range. This way, the final product is unpredictable; I’ll never know exactly what image will be generated.

This function returns a float number randomly ranging from 0.1 to 0.7:

The random parameters are not only unpredictable, but also non-reiterative, so these images cannot be recreated—they are completely unique.

Algorithm as art

Computer graphics are based on mathematics, so when I paint with code, I am exploring and visualizing the beauty of structure, abstraction, and complexity in mathematics that most of us don’t get to see in our daily lives. It often happens that when I play with a new algorithm and see the images it generates, I'm inspired to develop them into artwork, as was the case with Tsunami, below. The inspiration for this series came while playing with an algorithm named Cornu Curve, which generates a fantastic visual effect of crazy waves. From the same code, I made six different images using a combination of a hundred curves in varying opacities and shades of blue.

Unlimited complexity

Creating art with code allows me to make complex images that I could never have made by hand, such as All Seeing Eye, below. It is composed of millions of lines and hundreds of layers, and each line has its own shadow, blur, and opacity.

My goal was to use the complex texture to create the visual effect of catching or entrapping the audience in the “eye.” The computer is an exciting tool for creating art like this, which requires repetitive, intricate work. A piece of generative artwork composed of millions of shapes can be drawn in just a few minutes. Rendered by hand, the same piece might take a human ten years to accomplish.

Like a painter selecting the perfect tool, I used the following piece of code to define a “brush” with just the right characteristics to create the lines I wanted:

Then, just as a painter would use a specific gesture to create a certain visual effect, I used the following code to tell my computer how to hold and draw with the brush I created:

Functional designs

The exciting thing about generative art is that it is not only beautiful, but also usable. We can create new patterns and unique fabrics for the fashion industry, or we can move beyond two-dimensional creations and use generative art to make sculpture, furniture, and even architecture.

Creating art with code, I’m constantly making new discoveries of exciting visual possibilities. Computers have revolutionized countless aspects of human life, and now, generative art has the potential to revolutionize artistic expression, opening infinite space for innovation.

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By day, I code mobile apps and design digital experiences. In my free time, I create art. I recently began exploring both at once with generative art, a sublime combination of computer programming and graphic art.

Wild ideas emerged: a Hug Deli, where patrons might order Ninja Hugs off the menu; a mystery bar, serving up a drink chosen by the previous guest. The big idea was to get people out of their “thinking minds“ in order to freely create.

And that brought us to Fauxtobooth.

A riff on the classic photobooth we all know and love, this version is completely handmade and doubles as a creative confidence booster—forcing people to draw on a deadline.

How it works

The subject takes a seat inside the booth, facing a mirror. Thirty seconds after pressing a button, the subject receives a slip of paper through a slot below the mirror with—whoa!—a hand-drawn sketch of his or her face on it.

Um, how exactly did that work?

When the host brings the subject around to the back of the booth, the inner workings of the machine are revealed: table, chair, paper, Sharpies. The subject was actually posing in front of a two-way mirror and now it's his or her turn to take on the role of fauxtographer—of capturing the next unsuspecting subject.

How it's made

To make a full-scale prototype, you’ll need some foam core and tape. A crude model will help you get a sense of the dimensions and how long it would take to build. The massive black exterior offers an opportunity to advertise your offer. We used vinyl decals for our slogan: “Automatic portraits while you wait!“

Enlist friends: Building a Fauxtobooth takes a village (who likes to cut foam core alone anyway?).

Glue together pieces of foam core to provide structural integrity, and attach the parts using industrial strength velcro, making it possible to easily deconstruct and transport the booth.

Finishing touches

A few key elements bring the Fauxtobooth to life: a two-way mirror, a giant red “Start” button, and graphic flourishes:

• Two-way mirror: The artist can see the subject, but not the other way around. Position the Fauxtobooth under direct light on the subject’s side (you can also use a spotlight), and make sure the curtain is closed on the other side to completely conceal the artist.
• “Start” button: Program an Arduino to keep time (we used an interval of 30 seconds). When pressed, the button lights up for 20 seconds; for the last 10 seconds it blinks and counts down. This serves a dual purpose: the subject knows to hold still for their portrait and the artist knows how much time they have to complete the portrait.
• Graphics: IDEO designer extraordinaire Njoki Gitahi loves bold, vintage signs, and playful, typographic compositions. She took inspiration from Lou Dorfsman’s “Gastrotypographicalassemblage.“ The team vinyl cut and applied the graphics—a tricky process, but well worth it in the end. The white lettering creates a dramatic display against the black backdrop.

What we learned

Once we narrowed in on the Fauxtobooth concept, we realized that (1) you can capture the gestalt of a person in a very short time, (2) people have fun with it, and (3) the collection of images make for an awesome display wall. Here are a few other things we discovered along the way:

• Get back to basics. Building with common materials like foam core, tape, and Velcro reconnects you to basic skills and tools. And the analog experience charmed the pants off people.
• Velcro is your friend. Not only is the sticky stuff forgiving if you don’t get the alignment just right on the first try, it also allows you to disassemble and reassemble structures on location. Consider it the new duct tape.
• Fine-tune light and sound. We were able to position the subject’s side of the booth under a light and keep the artist’s side relatively dark. Check your space ahead of time and use a spotlight if necessary. Also, as the party heats up, the sound of the Start button may be drowned out. Turn up the volume!

Your turn

Up for the challenge? We put together a handy manual so you can learn from our mistakes. If you do build a Fauxtobooth, we’d love to hear about it. Send us a few (real) photos!

Download the replication manual and vinyl graphics

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There was a lot of work to be done. IDEO's New York studio was to host an event to celebrate Tom and David Kelley's new book, Creative Confidence, and whatever we designed had to reflect their ideas. Pressure on, we brainstormed over lunch—tools and sticky notes spread out across the largest room in our office.

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.