Only 20 percent of American homes are protected by security systems, and most of these systems are installed after a break-in. ‍

Home security veteran SimpliSafe hoped to convince the other 80 percent of home-dwellers to invest in preventative technology so the break-in never happens. The company approached IDEO to refresh and simplify the look and feel of its connected products to reach this wider audience and help them feel safe.

Interviews with potential customers revealed insights that informed the new design. Families told the researchers that existing security systems are expensive, bulky, and hard to install and use. Instead, systems should be unobtrusive, but responsive to your needs. They should react appropriately in emergencies, while also protecting your privacy.

Responding to those requests, IDEO overhauled the design and interaction of more than a dozen SimpliSafe products, including a wireless, touch-to-wake keypad; easy to install sensors; and a smart home base that acts as the brains of the system. Additionally, IDEO designed SimpliSafe's first step outside of the home—a video doorbell that can be used in tandem with the namesake home security system or on its own. Making the system enjoyable and intuitive to use means families are more likely to use it consistently—and correctly.

The team developed a consistent design language across SimpliSafe’s physical products, user interface, and digital presence. That clear visual language lets you know what each component does right out of the box; for example, the glass break sensor looks like a human eardrum that might actually hear a window shattering. The design also reduced the size of entry sensors by four times, while improving their range and battery life. Tapered backs and swept-front surfaces for all of these sensors help them blend into your home. The new system’s clean, understated appearance instills confidence without stoking fear of what could happen.

SimpliSafe’s keypad and base station guide you through setting up the system with voice feedback, while gentle LED lights and sound cues let you know at a glance that the system is armed correctly and you’re in safe hands. The system is also equipped with multiple layers of backup, so you don’t have to worry if the power or Internet goes down.

And the system responds intelligently, tailoring the way it reacts to match different scenarios. For instance, it sends a gentle reminder if a window is left open but a police response if a window is broken in. The design team also incorporated a first-of-its-kind privacy shutter on the system’s security camera so families can opt out of being recorded at home.

SimpliSafe launched its redesigned security system in early 2018, replacing the company’s two previous generations of products at the same price point. Already, the revamped system has cut the number of support calls from new customers.

In June 2018, venture fund and private equity firm Hellman & Friedman acquired SimpliSafe in a deal that valued the company at about $1 billion.

With a record number of applicants, stiff competition for top students, and a desire to make classes more diverse, college admissions teams are feeling the strain. Bowdoin College in Maine, one of the top liberal arts schools in the U.S., received more applications for the class of 2022 than for any other in its 224-year history.

Whitney Soule, Bowdoin’s Dean of Admissions and Student Aid, saw her staff at risk of burning out. On the advice of Bowdoin’s president, Clayton Rose, she invited IDEO to embed at the college and help design a new way of working. The IDEO team studied Bowdoin’s workflow and zeroed in on the application process as an area ripe for redesign.

By observing how Bowdoin counselors read applications, IDEO learned what drove their decisions. Mindful of how their choices could impact young people’s lives, counselors prioritized a meticulous reading of each application. But this thorough approach meant they often engaged in redundant work or delayed making final decisions.

IDEO designers translated their insights into a book for staff, featuring watercolor portraits of the admissions team and a clear articulation of their values—from integrity to inclusion. The book was IDEO’s promise that introducing a new reading process wouldn’t mean sacrificing Bowdoin’s personal touch.

Then, the designers and counselors ran A/B tests using real applications from past years, unwinding long-held beliefs about how they “should” be read. Soule and her team experimented by adjusting timelines and other factors that determine when and how applications move from a first read to a second read to a committee discussion.

Soule gave her team explicit permission to toss their typical playbook. Seeing their own process with fresh eyes, counselors realized they could be more confident in their expertise and tweak their workflow to meet changing demands.

A/B testing proved that some variables had little effect on the team’s final admissions decisions. With that in mind, IDEO redesigned the reading process and included a system called “magic sort,” which helps parse groups of applications based on a new set of counselor assessments in order to route each to its next round of reviews more efficiently.

The IDEO-Bowdoin team put the revised technique to work right away, processing 300 new applications from the annual QuestBridge program for low-income students. Counselors found they were able to make equally valid decisions while cutting the amount of overlapping work they faced by 40 percent, compared to years past.

Working with IDEO challenged us to change the way we work together—and we learned a new method of problem solving that we continue to use. We are better equipped to elicit creativity, then channel it into the practical implementation of new solutions. It’s been transformative!

WHITNEY SOULE, DEAN OF ADMISSIONS AND STUDENT AID, BOWDOIN COLLEGE

The new reading method let staff cope with a growing volume of applications, while balancing the need to evaluate individual students with the need to think holistically about the makeup of Bowdoin’s student body. Counselors adapted the technique to the rest of the year’s admissions cycle, including early-decision, regular decision, and transfer applications.

To extend what her team learned to other departments, Soule has led several design thinking workshops across campus. Her success as a leader has mirrored the growth of her team and the college; by empowering staff with new tools and the freedom to experiment, Soule and Bowdoin are leading by example in the evolving world of higher education.

For half a century, Swarovski has crafted iconic chandeliers dripping with the brand’s signature crystals. With the rise of new interface technology, the company came to IDEO for help to design the chandelier of the future.

IDEO designers set out to create beautiful, emotional experiences by layering technology onto Swarovski’s lighting offerings. Whether it’s setting the tone for a sophisticated retail experience, creating subtle ambiance at a romantic dinner for two, or providing true quality light to read a book, the team considered how a chandelier can enrich personal moments throughout the day.

Swarovski and IDEO assembled a multidisciplinary group, including industrial and UX designers, brand experts, and engineers to quickly vet, build, test, and refine their ideas.

Designers from IDEO and Swarovski worked together to completely reimagine the crystal chandelier.

Together, the team designed a new tech-infused chandelier and family of other light fixtures. At first glance, the chandelier resembles a simple, sleek metal disc. But when you turn it on and peer inside, an endless number of crystals swirl far into the distance—an Infinite Aura.

The Infinite Aura collection also includes pendant and wall lights. The team developed a mobile app that proactively modifies light settings based on the time of day, and also lets users customize their experience—including adjusting brightness and color to set a personal mood, or “Aura.”

Unlike most fixtures, Infinite Aura doesn’t just give off ambient light; families can also benefit from high-quality functional light, directed downward to help them focus on a task or diffused upward and downward to create a subtle ambiance. In a similar way, the chandelier can expertly illuminate a library, hotel lobby, or concert hall.

The new lighting line adds greater functionality and emotional resonance to today’s smart buildings, while retaining Swarovski’s timeless elegance. Infinite Aura debuted in Frankfurt, Germany in March and will be available internationally in fall 2018.

More than half of Americans don’t have the cash to cover a $400 emergency expense like a car repair or trip to the hospital. Taking that reality to heart, American Family Insurance, a Fortune 500 company that offers auto, home, business, and life insurance, was seeking a way to make an impact by helping people earn and protect—not just insure—the things they value.

American Family approached IDEO with an ambitious goal: to innovate in a way that would help working families—many of them existing American Family customers—who need a financial cushion in case of the unexpected. This new mission fell in line with American Family’s overall orientation toward increased social responsibility, including committing to a liveable wage for all employees, helping with student loans, and providing college scholarships and tuition reimbursement for employees’ children.

In early discussions, American Family thought people might need budgeting tools, but from the very first research interview, a different urgent need emerged: people needed a way to shore up their savings enough to protect against unforeseen needs. This same story came from numerous places. In Tennessee, the IDEO design team sat in the kitchen of a working single mom of four, who explained how her lifestyle was built around her extremely constrained budget. She couldn’t afford childcare, so she’d organized her home to allow her 11-year-old to watch the younger kids: partitioned snacks, timers on the TV, chore charts on the fridge. She managed her budget meticulously, it was clear, and she didn’t need new financial tools. What she really needed, she said, was extra income cushions so a surprise expense like a doctor’s visit or stretch investment like a kid’s basketball uniform wouldn't derail her plans. Like many of the people the team visited across the country, she didn't want to take on debt; she wanted extra work and the dignity and peace of mind that comes with it.

Could we, the team wondered, offer people who already have jobs the extra hours and income they need in a way that reduces, rather than exacerbates, the stress they already face? Would employers get on board?

The short answer was yes. Today’s businesses depend on on-demand work, including seasonal warehouse and retail shifts. Typically, companies look to temp agencies whose model is built on staffing with the goal of permanent placement. Moonrise enables companies to tap into a workforce that's already employed, allowing them the benefits of passive recruiting (reliability, consistency), but for short term work.

Knowing innovation was the path to growth, American Family took a chance by embracing a radically new brief: Create a service to help families living on the edge bridge the gap between the size of their paychecks and the size of their dreams. The result was a new business venture called Moonrise.

When customers told us that having an easy way to earn extra money could improve their lives, we were compelled to pursue a solution. Moonrise is a business with a human-centered mission. We’re proud it’s part of our American Family.

Jack Salzwedel, Chairman & CEO, American Family Insurance

The Moonrise platform lets workers sign up for shifts with partner organizations through a simple text message interface, and get paid as soon as their shifts are done. Employers who sign up to partner with Moonrise can list open shifts on the platform.

“Moonrisers” are W-2 employees of Moonrise, not contractors, so they don’t have to pay self-employment taxes. They also get personalized business and comment cards to take to job sites, making their interactions with employers feel more professional. In this way, Moonrise helps workers not only build a buffer against unexpected bills, but also explore new positions and fields—and perhaps even land new full-time work with Moonrise partners.

To test the program in real time, IDEO and American Family assembled 11 Moonrisers, six employers, and a team of designers and programmers to work out kinks in the platform. During a one-week live pilot in Wisconsin, Moonrisers finished a combined 28 work shifts, earning an average of $121 each, while IDEO designers worked behind the scenes to keep the process running smoothly.

Based on the success of the pilot, American Family created a new startup company called Moonrise, which became a wholly owned subsidiary of American Family. Moonrise launched to the public in the Chicago area in 2018, with plans for an eventual nationwide rollout. Moonrise signed Enterprise Rent-A-Car as its first employer and actively matches workers in Chicago with shifts, while continuing to build more corporate partnerships.

Since launching in 2018, over 7,000 people have applied to become Moonrisers, more than 7,000 shifts have been fulfilled, and over $500,000 has been put into the pockets of hardworking Moonrisers. Additionally, Moonrise will be expanding into 3 additional states in 2019.

IDEO and American Family Insurance interviewed customers of The General—a division of American Family—about how they budget to make ends meet. In this conversation, customer Chandra told designers how $62 could be the difference between breaking down and breaking even for her family.

It’s not always easy for established companies to innovate, especially outside their core business. But innovation is a high priority for American Family. Creating an employee -centered startup like Moonrise solves an urgent problem and distinguishes them from their competition. Together, American Family and IDEO identified a pressing human need and built a program from the ground up to meet it.

1. Choose your creativity apps wisely

Try as many as possible, then edit them down to the few you use regularly and that can fit on your home screen.

If you're a writer, there are many notes apps that offer distraction-free writing (IA Writer, Daedalus). Day One is a great choice for people who use journaling as a creative practice. For photographers, there are a wealth of tools (pro-quality editing apps like VSCO, exotic image-modifiers like Prisma). My personal favorite is Over, which allows you to add text your photos via a simple, fluid interface.

For those running brainstorms in the non-digital world, 3M's Post-It app is a surprisingly effective way to capture a wall full of notes, then reorganize and export them to others apps. For doodlers, Procreate is the gold standard. (You might prefer to use this app on an iPad, unless you have eerily-thin fingers).

2. Curate inspiration feeds

Aside from tools, you’ll want apps that supply a steady stream of inspiration. Some obvious ones: the Kindle app for reading, Audible for audiobooks, and a well-designed podcast player (we recommend Overcast). Other good sources of waiting room material are the various read-it-later apps, such as Instapaper or Pocket, and if you’re still reading this post, the Longform app. One note of caution here: don’t overwhelm yourself with a pile of material that feels like work to get through. Delete regularly.

3. Audit your distraction

Ok, time to get real. How are you really using your phone? Are there certain apps or websites that you check repeatedly every day? Do you have habits that are vaporizing your time (We're looking at you, Facebook, Snapchat, Instagram, YouTube, Reddit).

If so, engineer some limits on usage. One simple approach is to put all the apps that distract you on a separate screen, or even to hide them away inside a folder—putting a bit of friction between you and your addiction. Use that brief moment of additional swiping as a reminder to ask yourself whether you *really* want to go down the rabbit hole. Might there be something better to do with your time?

4. Support your focus

When you do decide to commit to a creative task, there are a number of apps that can help support you. Many swear by the Pomodoro technique, which involves a commitment to focus for 25min chunks, with 5min breaks in between. There are many Pomodoro timers in the app store, though Apple's stock clock app works just fine, too.

If you’re easily distracted, try a white noise app. Rain Rain provides a vast array of variations on the sound of raindrops falling from the sky, alongside airliner and washing machine soundscapes.

For a slightly less boring selection of background sounds, fire up Spotify and search “ambient playlists”. Brian Eno's Music For Airports is an excellent writing companion.

5. Change your morning ritual

With all your apps organized on your phone, you should be all set for a more creative relationship with your device. You only need one more thing: discipline. One trick is to think about your "first apps.” When you grab your phone in the morning or after getting on the bus, what are the first apps that you open? Do you have a set pattern? Are those really the apps that you want to be opening or are you a slave to habit? Try opening a creativity enhancer first and see how that changes your perspective for the day.

And sure, we know you're not going to write a novel while waiting in line for an ATM. But instead of losing yourself in a Facebook fugue state, maybe you could take a minute to construct a groove in Figure, or play around with a photo in Prisma. There. Didn't that feel good?

Illustrations by Felicia Chiao.

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Is the iPhone the greatest tool for creativity ever invented, or its worst enemy? The answer is... both. On the one hand, the smartphone is the Swiss Army Knife of writing, research, photography, and planning tools. On the other, it is an attention-sucking black hole, consuming all of your free time in a gaming and social media vortex. Here are a few ways to make that computer in your pocket best serve your creative goals.

That's starting to change. With 76 million Baby Boomers gazing down that long, winding road, aid-in-dying laws gaining ground (California's passed in June of this year), and an epic list of recent bestselling books on the topic, many written by doctors, death is having a moment.

Which led us to ask: How can design play a role?

To find out, we teamed up with local hospital network Sutter Health, the Helix Centre in London, and the Ungerleider Palliative Care Education Fund to launch OpenIDEO’s End of Life Challenge. Thousands of people around the world participated, submitting ideas for tools, services, and platforms that might improve the way we prepare for and navigate the end of life.

Some incredible ideas came across the transom. Imagine the relief of a soundscape that cancels out the maddening noise of bleeping machines in hospitals, or a digital platform that provides respite vouchers for family caregivers who desperately need a break.

Struck by the volume of ideas the challenge generated, we wanted to make sure the momentum didn't end there. A team formed to send out a call to a loose network of healthcare professionals, designers, artists, storytellers, organizations, and individuals to see if it made sense to join forces and build a public event.

Re:Imagine End of Life kicks off Monday evening, October 24th, 2016, and runs through the week in San Francisco. With multiple events every night in San Francisco and the East Bay, there are plenty of opportunities to join the conversation.

Tonight (10/24), at Grace Cathedral, Dr. BJ Miller, Dana Cho, and I will lead a workshop on how design can play a role in the way we die. OpenIDEO Challenge participants Brad Wolfe, Ken Rosenfeld, and Yoko K will share the ideas they are developing.

Other highlights include:

• Death over Dinner at the Battery
• An immersive VR art experience
• How Doctors Die, with Dr. Ira Byock and Dr. Joon Yun
• An evening of stories and music with You're Going to Die
• Open conversations at Zen Hospice Project

Want to know more? The event's organizers can be reached at hello@letsreimagine.org.

No one knows when it will happen. Could be 30 years. Could be next week. What we do know is that we are all dying. And that how we die—perhaps the most important event human beings share—is something we never talk about.

Featuring commentary from leading thinkers in art, philosophy, business, and design, the publication draws out the modern day relevance of the period’s most iconic paintings. Paul's essay reflects on Pieter de Hooch’s work, "A Mother Delousing Her Child’s Hair", also known as “A Mother’s Duty.” I asked him to tell us more about the book, and why it should be on every designer's wish list.

How did you get involved in the book?

Marcel was an artist-in-residence at our San Francisco office. He’s a world-class designer and we learned a lot from him. Later, his team approached me about this project. They sent me a list of paintings and asked if any of them sparked anything for me. The de Hooch was the first piece I saw and I picked it straight away. At IDEO, we often take shocking or not-beautiful things and make them poetic. So a girl having her head deloused immediately struck me as a great human truth. I love that de Hooch has made it beautiful and celebrated it and used all this classic technique around it.

You say design acts as a witness to our smallest moments of triumph and tragedy. How do we witness increasingly broad challenges, like poverty and citizenship?

Tackling a big problem doesn’t mean you have to look for the big solution. It’s always the tiniest thing that begins the catalytic chain that unlocks things. I firmly believe that looking for the tiniest moment at the center of the human experience is the place to start. So you toggle back and forth and try to look for things that are both human and universal, and personal and individual.

I was in Kansas City the other day talking about the plight of the citizen, and at the same time we were telling very specific stories of people that we knew or had met that day. We were able to talk about citizenship at one scale, and still refer back to individuals. Nobody reacts to a segmentation study or a bar chart or a number, everybody reacts to a story. You have to find the meta in the micro.

Art does this, too. De Hooch does a fantastic job of telling a story in which I can recognize myself. I remember sitting there and the feel of my mother’s hand in my hair. I think design is about asking people to feel it in their own skin, remember their own experience. Good art makes you see yourself in the frame, and that is our work these days, too—to help join together small and big and to help people see themselves inside the big system.

What was your first impression of the book?

It’s beautiful. I think beauty is very important. Having beautiful things around you makes you feel alive. In the age of digital—which these days has become almost synonymous with disposable—it’s really nice to stop the train for a minute and put something in your hands that has heft, and is an extremely lavish, unapologetically gilded object. To me it’s like holding a piece of jewelry or going to the symphony. The sensorialist in me is awakened by this book and I’m very proud to have been included in it.

Paul Bennett has always had an appreciation of the Dutch Masters: “I love the craft of them, actually, the feeling of the pictures.” So, IDEO'S Chief Creative Officer jumped at the chance to contribute to designer Marcel Wanders' latest project, Rijks, Masters of the Golden Age, a lavishly gilded coffee table book that pays homage to the 17th-century masterpieces hanging in the Rijksmuseum’s Gallery of Honour.

That was 10 years ago. I was in high school in China, where a comic dork looked like this:

That ego-crushing was followed by a lot of self-loathing and Cheetos. But over time, the taste of Cheetos grew flat, and my hands started itching to doodle in physics class again. I decided to follow the method the editor suggested:

Before long, I was running my first monthly series in a halfway reputable magazine. That helped me edge up in the high school popularity rankings, and I got a few messages of encouragement from reader forums. Above all, though, the method helped me get into a state of comic flow; nothing else mattered when I was drawing. Even when I was failing in life and full of self-doubt, I could always fall back on my sketchbook.

Which brings me to Lesson #1:

But even when you’re following a proven method and trusting the process, there are a few dangers to watch out for when embarking on graphic novel projects. The Pain/Gain index, for example:

If the difficulty index K is too high, terminate! There are four levels of challenge in a graphic novel project:

Creating anything that requires more cognitive load than watching Game of Thrones after a full workday is challenging to begin with, which leads to Lesson #2:

For me, it’s about rewarding myself with things I’m fond of drawing: intricate landscape, fashion, and action scenes. Since I suck at writing dialogue, I’ve kept it to a minimum, and substituted in symbols and visual cues.

Here are four other things I learned while making graphic novels, so you don’t have to go through the same pain:

I’m at work on #6 at the moment, which is the most fun.

Coloring under progress

It’s the last step in a graphic novel I’ve been working on about living in a dystopian San Francisco of the future, where the scarcity of organic food leads its residents to fight to the death at grocery stores. The story is a dramatized observation of the on-going identity battles most San Franciscans face today. It’s a place where one feels simultaneously insider and outsider. You can be both a picky eater and burrito consumer, the root cause and the victim of jacked-up rental prices, and equal parts poseur and satirist of hipsterdom.

“San Franciscocoa” depicts a mundane but impossible feat of grocery shopping—buying a bag of cocoa powder that’s going into extinction.

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“Sorry, but it’s simply not up to the publishable standard.”

The editor handed me back my work, which took hundreds of hours to create. There was a long pause.

“You should try more live sketching,” she said, lowering her voice to soften the blow. “Build a strong foundation before finding your personal style.”

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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.