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.

At IDEO, we’re often asked to share what we know about design thinking. We’ve developed designthinking.ideo.com in response to that request. On the site we introduce design thinking, how it came to be, how it is being used, and steps and tools for mastering it. You’ll find our particular take on design thinking, as well as the perspectives of others.

Creativity Challenge # 7: Eliminate hierarchy to improve idea flow.

While Speed Dating is useful in situations where people don’t know each other well, sometimes in group meetings you will encounter the opposite problem: a group where people know each other too well. Or, more specifically, a group in which hierarchy is so well established that the more junior members in the room self-edit and defer to the executives rather than putting their best ideas on the table.

To reduce hierarchy (which inhibits conversation) and self-censoring (which is equally limiting), the d.school has recently been experimenting with a “nickname warm-up.” Using a stack of colorful names the instructors have prepared in advance, the activity is a way to temporarily level out the organization during a creative working session. Each participant is given a persona to allow them to “try on” new behaviors.

Tool: Nickname Warm-up
Participants: Groups of 6-12 people per facilitator
Time: A few minutes per person
Supplies: Nametags for each person with the fake names written out. A hat and a ball for each facilitator.

Instructions

Step 1: Each participant reaches into the hat, draws out a name tag, and puts it on. Use names that lend themselves to humor and emotion. Teams tend to produce their best work when the group is having fun. Some of the monikers can imply a big dose of street credibility, while others suggest quirky personalities. For example: Dr. Fabulous, Squirt, Mr. Big Heart, The Clumsy Entertainer, or The Rooster.

Step 2: The facilitator gathers the group in a circle and tosses the ball. Whoever catches it introduces themselves using their new nickname and then tells a short story (created on the spot) about how they acquired this nickname as a child.

Step 3: After their self-introduction, they toss the ball to a new person, until everyone has had a chance to share their new name and story.

Step 4: The rule for the rest of the workshop—strictly enforced—is that everyone must use only these nicknames when referring to themselves or others.

Tips from the Field

Do the nametags work? Although this is a relatively new exercise, experience so far suggests that the answer is yes. At a recent management event, the CEO of a global hospitality company drew the “Squirt” nickname. There was a pregnant pause in the room as everyone waited to see how he would react. But he gamely played along through the rest of the workshop, and the organizers felt it contributed to an open environment in which people could speak freely.

The goal is to flatten out the hierarchy, so it’s important to get the senior people in the room to participate. Leading by example will naturally break some of the barriers to free-flowing collaboration.

This post was taken from Chapter 7 of Creative Confidence. Purchase the book for more on how to use creativity to solve problems, or read more from this series of creative exercises on the IDEO blog.

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

As leaders at the CoLab, IDEO’s platform for collaborative impact, we’re familiar with tension in all its forms. CoLab brings together organizations from across industries to focus on tough challenges, from designing for the circular economy to opening our financial systems. During design sprints, small teams build prototypes to explore new opportunities. Given that team members are often industry competitors with divergent approaches and ideas, tension tends to arise. We notice participants are often used to acting with the interests of their business first, rather than seeing the collaborative potential.

In order to create the impact we’re striving for at CoLab, we need to meet this tension head-on and create ways of moving forward. No matter what you’re designing or who you’re designing alongside—be it a colleague or another organization—here are four quick tips for adopting this mindset and productively addressing tension.

Observe the dynamic

Though tension can sometimes make us want to jump into action to resolve it, there’s value in sitting back, too. Try answering the following questions for yourself: What opinion is each team member pushing forward? Why might they have this view?

Paying attention helps you establish empathy. As designers, we use empathy not only to deeply understand the realities of the people we’re designing for, but also the realities of those we’re designing with. Even if you disagree, understanding why a teammate might have a certain opinion can help you create solutions that ultimately meet a need that you might not have noticed alone.

Give it a name

Once you’ve spent time observing, try naming the tension out loud or writing it down on a piece of paper. Saying or jotting down, “There’s tension around X right now,” or simply, “I’m feeling tension,” externalizes the tension. It’s is no longer this abstract, all-encompassing feeling. The tension is a named, tangible thing that the team can hear and see — not just feel — and therefore more objectively address through listening, dialogue, or compromise. In fact, mapping out seemingly conflicting interests or goals is a great tool for synthesis and identifying opportunities for design.

Just start making

Tension frequently arises when teams are trying to align on a shared vision or strategy. After all, when there are various stakeholders involved, they’ll likely have a variety of approaches. But it’s draining to debate things like your purpose or mission statement all day long. Reaching consensus can take hours, and may not even be useful at such an early stage before teams have had a chance to validate concepts through building.

It may seem counterintuitive, but to move teams through this tension, we recommend to just start doing. Whether it’s a whiteboard sketch or a model made of construction paper and glue, acts of making can offer clarity to subjective, “big picture” items. Shifting your mental focus from defining to doing has the power to shift a team’s dynamic.

Assume good intent

Though tension can sometimes feel like opposition, it often happens because teammates are passionate about the same thing. They may just want to apply or direct this shared passion in different ways. When things get tense, remember that you’re all working towards the same goal, and that the tension is likely not about you. Don’t take it personally.

Reinforce this “oneness” and good intent through language or actions. Try this: “I’m glad we’re in the same room solving this problem together.”

The next time things get tense, try not to jump into defense mode or sink down in your chair. Tension in team environments is inevitable because each of us bring a different set of experiences and perspectives to the table (so don’t crawl under it). As a team committed to collaboration across organizations that wouldn’t otherwise work together, we’ll keep embracing tension to get to the impact we all want to see in the world.

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Tension in a team environment can make us nervously glance at the clock, play mediator, get defensive, or cling to the tried-and-true. But tension isn't always so bad (you can unclench your jaw now). In fact, we’ve found that some of our greatest work has come from embracing—even seeking out—these difficult moments.

If you live in an American city, big or small, there's a decent chance that Sanborn had a map (or a hundred) of your town. And best of all, the entire collection is open-source and available for download in high-resolution images. The Library of Congress database isn't exactly the easiest in the world to search, but keep at it.

I live in San Francisco and was curious to see how my neighborhood was depicted by these amazingly-talented, fire insurance bureaucrats. I was delighted to find this map that shows my San Francisco neighborhood—the Lower Haight—in all of its 1899 glory. The colored rectangles form a grid, each pointing toward another map somewhere in the Sanborn collection that zooms in for much greater street-by-street detail.

I kept banging away at the rudimentary search function on the LOC website and eventually located Map 306, which visualizes my block in the year 1899.

San Francisco is not the oldest of cities when it comes to architecture, and there was that little thing called the 1906 Earthquake (and subsequent fire), which destroyed a lot of the city as well. So I wasn't too surprised when I didn't recognize many of the buildings on my block. That said, it did get me curious: Were there any buildings that were visualized on the 1899 Sanborn map that are still present on my block in 2019? I decided to make a map to find out. See, being an ameteur cartographer is actually useful in 2019! Google Maps hasn’t ruined all of the fun.

First, I set about converting the Sanborn map of my block into a file that I could manipulate in Adobe Illustrator. The original map is a JPEG, which means that it contains pixels. But since I wanted to have the freedom to tweak the map as I saw fit, I needed to convert the map to a vector version of the file. Why? A vector file (which, instead of pixels, is all about math coordinates) can be scaled infinitely large. What's more, it's much easier to change the colors on a vector-based map or make other modifications that I might need to later.

I'd like to say that there was some fancy way that I converted the map. I could have tried a Live Trace, but with a map this detailed, I wasn't optimistic. So I just rebuilt the file by tracing over the Sanborn map layer with new lines and fills and strokes. Detail by detail. This was mostly an act of love and definitely not a fast process. I recently had a kid and this turned out to be a fantastic New Year's Eve activity as we counted down the tired hours till midnight.

One unique challenge I encountered — there's no clear font out there that replicates the Sanborn hand-lettering. I spent too much time with the Adobe Typekit database and landed on Zeitung. It's not an exact match by any means, but close enough to pass the squint test.

That’s the original map on the left, in all of its pixels glory. And that’s the vector file on the right, built from scratch. How'd I do?

Okay. With the Sanborn map from 1899 more or less created, I turned my attention to the 2019 version of the map. I needed a detailed lot-by-lot map of San Francisco. My first go-to in moments like this is the Stanford University Earthworks website. The search function works quite well, and it links to open source maps from lots of other universities (like Tufts). After a quick search, I located a lot-by-lot map for the Bay Area and opened it up in QGIS, everyone’s favorite free and open-source cartography tool! Here’s what I had.

Totally overwhelming and, not surprisingly, it was actually quite tough to even find my block in all of that detail. So I loaded Google Maps, entered our home address, created a KML file with that single data point, and added it to the QGIS map. Once I zoomed way in, there was our block and our loft (represented by that little purple dot).

As I’ve mentioned before, QGIS is a wonderfully-powerful mapping tool, but mostly the pits when it comes to designing anything that would measure up to the esthetic standards of the average designer. So I zoomed way in to just our block, then exported the file as a vector file and opened it in our old friend Illustrator.

What I quickly realized is that this lot-by-lot map shows the property lines for each parcel on our block, but not the actual shapes of the buildings that sit inside each lot. Although I was getting close, I needed to go a step deeper to actually match the detail of the 1899 Sanborn map, which shows the outlines of individual buildings.

I opened Google Maps again and toggled to the satellite view of our block. If you zoom in as far as possible, you can see the outline of individual buildings. It's not perfect—shadows must get projected in weird ways when you snap photographs from orbit—but this was starting to get more interesting.

I snapped a fully zoomed-in screenshot of each building on the block, then traced them one-by-one using the Pen Tool in Illustrator. Once I had the outline of an individual building, I pasted it into the spot where it belonged inside the lot-by-lot map I’d exported over from QGIS. Then I repeated this process 31 times, for each of the buildings contained on my block.

With the buildings in place, my next task was to figure out when they were built so that I could determine if any of them had been around back in 1899. After much poking around, I found this site from the San Francisco Planning Department that had exactly what I needed—the construction date for each of the 31 buildings on my block. Once I did the research, I discovered that three buildings can be found on the map in both 1899 and 2019, all of them clustered on the southwest corner of the block. One of them is my local bodega, home to Tiger the cat and famous (in the neighborhood) for the time that the Warriors eccentric three-point maestro Klay Thompson visited the bar to buy a bottle of Grey Goose. Super cool also to know that the building was built in 1890 and survived the 1906 Earthquake and Fire.

To finish up the map, I built out a key, borrowing inspiration from another Sanborn map visualizing neighborhoods in Honolulu, Hawaii.

Then I tweaked the colors, sticking to the Sanborn color palette, but borrowing some of the brighter colors found across the collection. I also added some polka dots to both maps to call attention to the three buildings that survived from 1899 to 2019. These last couple of tweaks are just two of the many benefits to working with vector files instead of pixels.

And voila, here is the final version of the map. What do you think? Now you can do the same for your city block.

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Do you have a few hours on your hands and want to head down a wormhole of unbelievably striking maps? Mosey on over to the Sanborn map collection at the Library of Congress. Originally created as a means for issuing fire insurance across major American cities, the quality of hand-drawn detail in these maps and the color palette used by the cartographers are stunning.

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.