Have you ever had that gnawing feeling, just as you’re sitting down to your computer at work, that you’ve left the central heating on at home? You’re not alone. Rising concern about wasted energy and the financial cost of unregulated thermostats, as well as the convenience of a connected and cozy home, all point to the rise of the smart thermostat. Berg Insights projects it’ll grow 64.7 percent over the next five years.

Founded in Munich in 2011, tado° is Europe’s biggest maker of smart thermostats and air-conditioning controls. Looking to grow, tado° approached IDEO, a longtime collaborator, with a late-stage prototype for a new, wall-mounted gadget to connect any air-conditioning unit to the web so it could be controlled remotely through a smartphone app.

Dubbed tado° Cooling, the device recognizes when people leave their house and heats or cools the house upon their return. The brand tasked IDEO with a three-fold goal: gauge interest in the device, raise brand awareness, and work out product/market fit.

After stakeholder interviews, research, and prototyping, IDEO supported tado°’s team in refreshing the industrial design of the hardware and creating a distinctive yet unified user-interface language for the brand’s existing and future products.

To work out what potential customers thought of tado° Cooling, tado° turned to a novel research medium: Kickstarter. Its ultimate goal? Knowing whether people would part with their money for one. The IDEO team provided an overarching crowdfunding strategy, including funding goals, giving tiers, and marketing, and shot the brand’s Kickstarter campaign video.

As a result, the campaign burst through its $150,000 funding goal to $200,000, and scored coverage in a raft of tech media outlets including TechCrunch, GigaOm, TheNextWeb, Engadget, and PC Magazine. After hitting its “stretch goal,” tado° is adding non-A/C device controls, a Windows Phone app, and IFTTT and Jawbone Up integration.

In addition to media coverage, and showing the public’s appetite for the device, the Kickstarter community’s conversation unearthed further user insights that fed into product development, according to tado° head of design, Jens Pohl.

Buoyed by that success, tado° enlisted IDEO to translate user insights and a big-picture overview of the connected home sector into new services to enhance the device’s UX, and introduced new business models to strengthen its European brand strategy. Early visual concepts, learnings, and evidence from this exploration supported the brand’s investor pitch, securing a further round of $15 million venture capital.

Dr. Reddy’s, a 36-year-old global pharmaceutical company headquartered in India, was growing at a rapid pace. Over the years, the company’s main focus had been on producing affordable generic medication. But with more than 24,000 employees and seven distinct business units operating in 100 countries, there was an urgent need to identify a core, unifying purpose—one that would articulate a set of shared values and align leaders on key business decisions and goals.

G.V. Prasad, the company’s Co-Chairman and Managing Director, knew that the vision had to be simple and elegant–an emotional drive that every employee across the company could relate to and act upon.

Prasad partnered with IDEO to distill the focus that would align the company. Over the course of several months, Dr. Reddy’s team worked with IDEO to learn about the needs of everyone, from shop floor workers to scientists, external partners and investors. Together, they defined and distilled the essence of the company, paring it down to four simple words that center on the patient: Good health can’t wait.

The simplicity of these words belie their power. According to Prasad, the newly articulated purpose has resonated across the company, changing the whole culture of the organization. The idea of infusing a sense of urgency and nimbleness to their systems as a means of serving their customers has had a direct application in almost every corner of the business. Employees connect the message to their own experience, and each of the different business units are now moving towards a common goal.

A Shift Inside

“Good health can’t wait” has become a powerful recruitment tool and employee rallying cry. It makes clear that the company is in the business of serving patients, not just creating products, no matter how innovative or affordable. This has given a new sense of meaning to all personnel, from frontline sales representatives to senior leaders to scientists. Many key decision-makers, including new CEO Erez Israeli, share that the purpose statement inspired them to join the company.

Articulating Dr. Reddy’s purpose has empowered these employees to take risks, experiment, and work together. For example, the marketing department has refocused its efforts on finding solutions that improve patients’ consistent use of their medications. And motivated by the idea that patients can no longer wait for a cure, employees from different disciplines are coming together to find inventive ways of bringing new products to market in record time.

“The website medznat.ru required immense collaboration between various teams—medical, information technology, marketing, and analytics,” says Mvsma Raja, Head of Strategy and Marketing for Emerging Markets. “This served as a platform to bring the latest happenings in the area of pain management to doctors in Russia, who we learned are looking for the latest medical updates on the go.” Building on this cross-functional collaboration and momentum, Dr. Reddy’s established an internal design studio dedicated to using consumer insights and rapid prototyping to drive innovation.

New Offerings

“Our brand belief has inspired how we’ve thought about our future growth,” says CEO Erez Israeli. The new purpose unlocked a series of initiatives, including the aforementioned website for Russian physicians and innovative pill packaging that helps patients better understand their instructions.

Purple Pack is a new type of pill package that ensures that vital information like the expiration date is not torn off and thrown away. Born out of Dr. Reddy’s in-house design studio, Purple Pack allows the pharmacist or patient to mark their daily dosage and reminders on the packaging itself, as paper prescriptions are often misplaced.

A Business Boost

“Good health can’t wait” has not only attracted and unified talent and inspired new offerings, it’s boosted both sales and profit. For example, Dr. Reddy’s generic oral diabetes medication, Metsmall, has become the fourth largest brand in India based on the number of pills sold. The medication is distinct from competitors’ versions in that the pill is smaller and easier to swallow—a clear embodiment of product development oriented around the patient. With its signature Purple Pack convenience packaging, the medication has been one of the fast-growing Indian pharmaceutical brands over the last two years.

Looking ahead, both Prasad and Israeli hope to continue building a purpose-led culture that influences the business from the inside out, inspiring employees to be empathetic and responsive and realizing its mission to deliver good health to all.

In 2006, the MacArthur Foundation made what became a big bet about the future of education, shifting its attention away from the traditional school-based model of reform toward a more youth-centered approach.

By 2014, the bet was starting to pay off, but for it to really succeed, it needed an innovative path to scale and an entrepreneurial approach to sustainability. That’s when MacArthur came to IDEO for help in designing a new organization.

Together, IDEO and MacArthur set out to transform the foundation’s efforts into a self-sustaining enterprise that could balance the social responsibilities of a nonprofit with the lasting viability of a business—an opportunity that was as much about designing a new infrastructure as it was about creating a new culture.

Using a novel prototyping process, IDEO created three illustrated scenarios to tell different versions of LRNG’s possible future, each with an alternative portraiture of its purpose, vision, operating structure, product portfolio, and business model. Through a playful, modular storytelling structure, the stakeholders considered the potential trade-offs of the different approaches and how to prioritize their organizational goals with clear definitions of success.

These different future-forward scenarios helped funders and partners grasp a radical organizational vision, as well as a clear operational model that was go-to-market-ready.

In October 2015, the MacArthur Foundation launched Collective Shift, the organization behind LRNG, with $25 million in seed funding and 30 partners, including Arizona State University, Gap Foundation, the Boys & Girls Clubs, Electronic Arts, and musical artist John Legend.

Based on the scenarios created by IDEO, LRNG is dedicated to creating a “learning as a lifestyle” movement that will transform the learning landscape and close the equity and opportunity gap for young people.

Hundreds of millions of people, from excitable teens driving their first hatchback, to new parents going in for a minivan, have driven Fords off lots around the world since the first Ford Model A was produced in 1903. And cars have changed how we shop, travel, and work; they’ve reshaped our homes, towns, and the world’s infrastructure.

Today, Ford, along with the entire industry, is at an inflection point. As millions around the world move into gridlocked, polluted cities, the allure of owning a shiny new car has dulled. In some places, young people are driving less, and getting their licenses later or not at all. Lightening their load, city dwellers are relying on ride-sharing services and other alternatives to individual ownership.

Technology underpins that shift from ownership to usership. Smartphones, sensors, and open data have enabled new ways of getting from point A to B: from car-sharing services like Zipcar to taxi services like Uber or clever transport apps like Citymapper that help people skip effortlessly between the bus, a shared bike scheme, and renting a car.

While the owner of the very first commercially available Model A—Chicagoan dentist, Ernest Pfennig—couldn’t see more than a century ago how cars would change the world, Ford is squinting into its future by prototyping it now. Building on a longstanding relationship with IDEO, the carmaker approached us, along with a number of other partners, to undertake two of 25 experiments exploring a car company’s place in the changing world of mobility.

The first, Data-Driven Insurance, investigates a new pay-as-you-go insurance offer based on people’s driving behavior, as measured by a small adapter plugged into the car. The second, Infocycle, plots a snapshot of how bikes traverse the city and interact with cars and public transport by using Ford’s open source API, Open XC, to track cyclists around San Francisco.

Tackling the tangled ecosystems of bike sharing, private cars, and open city data proved an international effort. The two projects brought together a multidisciplinary team of researchers, hardware and software developers, data scientists, and interaction, industrial, and business designers from IDEO’s San Francisco, Palo Alto, Chicago, and London studios.

Have we cracked the future of mobility? Probably not. And that’s okay, says Fields. Smart mobility is simply part of Ford’s journey of evolution. Along with global competitions, collaborations with universities, and opening up their hardware and software platform Open XC, these experiments help Ford meet the needs of a fast-changing mobile world. “As we drive innovation in every part of our business,” Fields said, “we are determined to learn, to take risks, to challenge custom and question tradition, and to change our business going forward.”

More information on Ford’s Smart Mobility projects can be found here.

IDEO: Tell us about your drawings

Dave Russell: A few months ago I committed myself to drawing a comic a day for one month. I’ve never consciously drawn comics before, but I’ve always admired the narrative skill of artists like Chris Ware and Adrian Tomine, so I thought it would be fun to experiment with the format. While both these artists employ a semi-realistic style to tell human stories, I’m equally inspired by the strange and absurd worlds created by the likes of David OReilly and Pendleton Ward.

When do you find the time?

For me, drawing can be a way of escaping the everyday and exploring imagined worlds. Doodling is like my meditation—it clears my mind and helps me to focus. I try to keep these scribblings to a minimum in face-to-face meetings, but when I’m on the phone my drawing hand has a mind of its own. I’m often surprised by what ends up on the page.

What are your favorite tools?

My go-to, everyday weapon is the Muji Gel Pen. It’s versatile—thin enough to write with and a great weight for small sketches. It’s got to be black and it’s got to be 0.5mm. No exceptions. I recently started using a Pentel Sign Pen to draw with, too. It’s super smooth and the nib feels quite dynamic. It also bleeds less than Sharpies, the ubiquitous IDEO design tool.

Welcome to the What's in My Moleskine series, a periodic peek inside the notebook of an IDEO designer. Fast Company recently did the same with IDEO's Joe Brown, who had a lot to say about the all-powerful Muji thread-bound A6 notebook.

In this installment we hear from Dave Russell, a communications designer based in our London studio.

I have to find out if I can pull off a successful translation.

I found my most recent skeuomorphic inspiration in Tokyo’s Nezu museum, one of the best traditional Japanese art museums in the country. Nezu was hosting an exhibit on sensu fans. Originally invented in China, sensu fans were popularized in Japan by artists and calligraphers, who used them as a medium for their work.

Taking in the fans, I immediately appreciated the fantastic woodblock artwork and beautiful brush strokes, but what really struck me was their construction and mechanics: the hand-held fans open with the flick of a wrist. I couldn’t get them out of my mind. How did they open and close so efficiently? How did the bamboo supports slide smoothly over one another? Did the creators consciously build them to open with a simple hand gesture? And what was the point of making them retractable in the first place?

I began to realize that the only way to satiate my curiosity was to make a digital re-creation of the sensu fan. Translating the fan’s physical systems to the digital world would test my skills as a designer and help me to understand its essential systems.

Observable systems

In any skeuomorphic project, the question I usually start with is: What elements capture the essence of the subject? Is it its purpose? Or is it characterized by its design, its construction, its movement, or its interaction? To find the answer, I need to look beyond the face of the object and break it down into the shapes, motions, and systems that define it.

The first app I ever created was a tribute to an electric razor from the late 70s designed by Dieter Rams. I can remember watching my father run that razor over his face every morning. Though I didn't know it at the time, it was the first well-designed product I ever came in contact with. I can still hear the click of the slide-up power button and the sound of the vibration that it made as it glided over my dad’s stubble. When I built an app version of the razor, I realized that the sound and the micro-movements were the two key aspects of the design that I had to translate to make a satisfying digital interpretation.

I used a combination of animation, vibration, and sound (tilting the phone toward your face makes the phone play a beard-cutting sound) to bring the razor to life. The result was a super-tangible app that made the device feel so much like a real razor that you could almost forget it was a phone. Unfortunately, Apple didn’t quite get it—they claimed it was “too useless” for the app store—but for me, it was a ticket back to my childhood.

Considering design

Far from useless, skeumorphic explorations make me a better designer. The challenge of breaking down a real-world object into a set of Photoshop layer styles is my idea of time well spent. I strive for efficiency: Whether it’s lines of code or the number of layer effects, minimization is the key to honing my design skills.

When I did a translation of my Braun AW-20 watch, I managed to perfectly capture the essence of the watch in 27 layers with one to three styles each. I plan on returning to it one day to bring it life in code.

Bringing it to life

When I began my skeumorphic translation of the sensu fan, I felt it was critical to capture the physics of the opening and closing motion. This meant that I wasn’t working with Photoshop layers, but with code. At IDEO, I tend to design with code as much as I do with Photoshop or Sketch. Having a good grasp on code allows me to think deeper about physical-to-digital translations, and real-world systems are better expressed and executed in certain programming languages than others. My first attempts at recreating the fan were standalone applications in openFrameworks—a set of C++ libraries packaged together for creative programming. I started playing with the Box2D add-on for openFrameworks, which was put together by my colleague Todd Vanderlin from our Cambridge office. While the add-on worked perfectly, the digital replication of the fan’s real-world physics just didn’t capture the magic of the construction and movement.

Because the stand-alone nature of openFrameworks limited the reach of the project, I moved on to exploring more accessible web technologies like CSS3 and JavaScript. I had to compromise slightly on the real-world look of the fan, but the final expression really embodies the movement and interaction that fascinated me when I encountered the Sensu fans at the museum. What’s more, users can manipulate jQuery parameters to change the fan's size, color, and decoration—a digital version of what traditional Japanese artists have done with the fans throughout history.

By creating these translations and exploring the life of the subject, I end up discovering something deeper about the object's design and meaning in the world. Likewise, by creating these challenges, I end up discovering something about myself and my skills as well.

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A few times a year, I’ll come across something—maybe an object or system; maybe just an idea—and I’m overwhelmed with a burning urge to translate it into code and design. It’s a practice usually referred to as skeuomorphism, and once a project captures my imagination, there's no going back.

But when IDEO worked with the USGBC to come up with a new LEED certification plaque, it became clear that software design would be a fundamental part of LEED’s future: The idea was to replace the static plaque with a continually updated digital display. Initially, LEED only looked at a building’s performance at the time of certification. The USGBC has long been working on ways to evaluate what happens after certification, and a recertification program has been in place since 2004. The new plaque was conceived to go even further, monitoring a building’s sustainability in real time on a dynamic digital graph.

That sounds (and looks) pretty simple and intuitive, but to make it work, we had to bust down some interesting technical walls, in a way that nicely encompassed the breadth of IDEO's capabilities, from design research, business development, industrial design, shop building, and interaction design to the software I helped create with an incredible team.

I came on board after the actual visual design had been finished. A small IDEO team had already completed a concept video, unveiled at the 2013 Greenbuild conference, for a plaque that calculates a building’s ongoing performance in five categories: energy, waste, water, transportation, and human experience. For each of the five ratings, there is a curving pathway that gets longer as the score improves.

The team came up with this “racetrack” design to show real sustainability data in a way that encourages positive behavior change. Familiar graphics like charts and graphs tend to make people focus on the negative, whereas we wanted people to focus on progress. No matter how long the strip on the racetrack is, you can see that you’re on your way, even if you still have a ways to go. We weren’t sure we could achieve the requisite combination of elegance and functionality in the time allotted. But it was a good challenge, and that in itself was compelling.

The animation has a big purpose: Showing the building’s use of energy, waste, and water makes people more aware and more conscientious of their own use. I think that’s really positive. The plaque also shows how occupants travel to and from the building, as well as how comfortable and happy they feel when they’re inside, which are new ideas for what it means for a building to be “green.” I wouldn’t have thought, when LEED was introduced in 2000, that a software developer could have a meaningful impact on sustainable architecture, but the fact that I could really speaks to the opportunities that will be open to us in the future.

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Many folks helped to contribute to this post. Huge thanks to Scot Horst, Gretchen Sweeney, Jennifer Easton, Kim Cullen, Gerry Harris, Steve Bishop, Beau Trincia, Mark Harrison, John Stoddard, Alastair Warren, and Building Robotics.

I've always had a layman's interest in architecture and in LEED, the U.S. Green Building Council’s certification program for sustainable buildings. I’m a software developer, so designing buildings is well outside my area of expertise.

Nature Cards are a collection of cards featuring strategies from the natural world that inspire us with a new mindset as we approach design challenges. Use them to frame your design challenge, evolve your business strategy, brainstorm, teach, or simply to think creatively and holistically with nature in mind.

As human-centered designers and innovators, our work has always been inspired by observing people’s natural behavior in its physical, social, and cultural context. As we address increasingly complex and systemic challenges, recently some of us at IDEO have been exploring how human-centered design might broaden its lens to include observation of the natural world in which humans are an integral part. With the help of experts in biology and the life sciences, we are learning about the principles of successful strategies in living systems. This knowledge is inspiring new thinking about how and what we can create for a thriving future.

Download the complete set of Nature Cards here.

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.