Since the early 1990s, Samsung and IDEO have shared a history of influential and award-winning collaboration. Together, the two companies have worked on more than 50 projects, the offerings created by this partnership spanning a broad spectrum, from a series of conceptual multimedia devices to industry-changing monitors, TVs, laptops, mobile phones and interfaces, computer peripherals, and mobile platform strategies. But beyond the design of products brought to their global market, the Samsung/IDEO partnership used the human-centered design approach to produce the innovation that ended up transforming the electronics giant’s entire business.

After years of being an industry fast-follower, Samsung approached IDEO with the idea of an immersive cultural exchange. Samsung designers, marketers, and strategists came to Palo Alto and set up a studio near IDEO to learn everything they could from the US consumer market and IDEO’s design approach. Together, the teams began to design groundbreaking electronics products, while using design thinking to look at the entire business through a new lens. By putting users at the center of the process, and beginning to understand their needs and emerging behaviors, Samsung found it could not only satisfy existing customers, but also begin to anticipate market shifts. This tipping point led Samsung to evolve into a market leader.

Samsung and IDEO created a design powerhouse, following a journey from designing products to services to experiences, interactions, and innovation that moved Samsung away from consumer electronics toward an even bigger market of back-end services and interactive and systems-based services.

Culturally, the partnership with IDEO has helped Samsung adopt new ways to integrate internal teams, a human-centered design approach and iterative prototyping, and the methodologies to merge technology and design to create a leading-edge consumer line and brand. As evidence of Samsung’s rise to being one of the world’s largest design-driven companies, the company has more than doubled its internal design teams since 2000, according to the article “Samsung Design” in BusinessWeek Online.

Some of the projects include:

LCD Computer monitors
Samsung and IDEO created the industry-standard 970P and 971P monitors, featuring clean surfaces, contrasting textures, and a simple design for a premium look and feel. Designed with IDEO founder Mike Nuttall, they won both the 2009 iF Award and a 2007 IDEA Gold award.

Brand awareness for Samsung Memory
Wanting to raise awareness about Samsung Memory’s products that enhance the performance of electronic devices, IDEO and Samsung designed a humorous campaign that highlighted consumers’ need for Samsung Memory.

SimpleMedia and TotalMedia home entertainment concepts
IDEO and Samsung designed two concepts: SimpleMedia combined a computer, television, DVD, fax, and telephone; TotalMedia featured an adjustable screen and LCD projector combination. Although neither was ever produced, they were honored with design awards from ID Magazine and BusinessWeek, respectively.

SyncMaster 400TFT Flat Panel Display
Samsung and IDEO designed the SyncMaster LCD flatscreen multimedia monitor to be thin and elegant, and it garnered several design awards in Korea, Germany, and the U.S. The British magazine T3 called it “the sexiest monitor we’ve ever seen.”

Nana Joes, a beloved San Francisco granola company, was born from an avid surfer’s desire to bring healthy breakfast back to the kitchen table. Embracing the philosophy that good food is about wholesome ingredients prepared with care, the startup took pride in carefully scraping each vanilla bean by hand and soon gained a devoted following at farmers markets around the Bay Area.

As Nana Joes’ reputation grew beyond the hills of San Francisco, the company asked IDEO to explore how to take a small company and scale the brand for national distribution, while keeping its heart and handcrafted ethos at its core.

A team of IDEO designers set out to position Nana Joes for growth by developing a brand identity and packaging system that would resonate with customers and reduce operational complexity. The entire team went on factory tours and met with packaging suppliers to identify solutions that would be easily manufactured en masse, but still retain the familiar handcrafted feel. With mock-up packaging in hand, they hit local farmers markets to conduct live in-market prototyping with both loyal and new customers and met with retail buyers to get their real-time reactions to how the brand and packaging stood out on shelves.

The final deliverables included new branding and packaging for the entire line of granola, granola bars, and cookie products, as well as a guide for Nana Joes to operationalize the rollout by 2016.

The legacy company that produced the first phone book in Australia more than 130 years ago—and the disruptive change it represented—became directories company Sensis. As Sensis made the transition from a print directory to a digital service in recent years, the company came to IDEO to foster a startup mindset.

Together, Sensis and IDEO identified four ways for Sensis to become more agile: Focus on the company’s core skills, revitalize the product development process, develop insights about Sensis’ global competitors, and strengthen connections to current and potential customers.

After prototyping more than 65 ideas, the team decided on an app, Skip, with which a customer connects remotely to her favorite café right from her phone, sends her order, and schedules a time to pick it up. Then she breezes past the line when she arrives at the café.

To understand how this app might work in the real world, the team fanned out across Melbourne, talked directly with café owners and their customers, gathering data, and watching behavior, then launched the live app just 10 weeks after developing the first prototype.

Watch: Team members from Sensis and IDEO share their experiences.

Fueled by a mission to “help everyone love what they eat,” the Chicago-based food-tech startup Food Genius created a consumer-facing mobile app that used a complex algorithm to track more than 16 million restaurant menu items and classify consumers’ dining-out behaviors.

After the year-old startup became part of IDEO’s Startup in Residence program in Chicago, the company changed its focus from consumers to the food industry.

To build their food industry-focused platform, the designers collaborated on a number of business and technological development strategies, product road-mapping, and a prototype viral marketing experience called Curry Crawl to test the usability of the new API.

In April 2016, Food Genius was acquired by US Foods. "What was really striking about US Foods is that they take a very analytics-driven approach to their business," said Justin Massa, founder and former CEO of Food Genius. "They bought the technology knowing it's going to be able to do great stuff."

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

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

1. Focus on storytelling

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

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

2. Prioritize collaboration

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

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

3. Talk less, do more

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

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

4. Embrace ambiguity

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

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

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

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

Creativity Challenge # 4: Lessons from observing human behavior

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

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

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

Instructions

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

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

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

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

Tips from the Field

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

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

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

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

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

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

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

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

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

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

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

Day 1: Getting started

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

Let’s review some of the fundamentals:

Uploading a reference image

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

Choosing a brush

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

Using three-dimensional guides

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

Day 2: Getting better

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

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

Day 3: Drawing without guides

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

I hope the following sequence of GIFs shows some progress:

Day 4: Finding new applications

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

My takeaway

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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