As a small, young nation, Singapore has come a long way in a short time. Its cost-conscious education system enables social mobility, its public healthcare system is a model of success, and it has achieved financial independence. What’s more, 80 percent of its citizens reside in Singapore’s desirable and attainable public housing complexes.

But even with these successes, Singapore wanted to improve upon its existing systems. In 2008, government agencies came to IDEO to help connect the intention behind their policies with how their services were delivered to the public. To bridge the gap, IDEO Singapore partnered with five government agencies on more than 12 projects.

A few highlights:

Singapore’s Ministry of Health
The Ministry subsidizes up to 80 percent of healthcare costs. Understanding their financial options may, at times, be difficult for patients, especially in situations where they’re grappling with stressful medical conditions. Although the government has reassured Singaporeans that no one will be denied medical treatment even if they can’t pay, public sentiment that healthcare in Singapore is increasingly unaffordable still pervades.

So the Ministry worked with IDEO to give patients financial peace of mind at a time when their well-being is of utmost importance, and to improve their healthcare experience overall. Inspired by doctors’ ability to talk about patients’ diagnoses across a range of potential outcomes, IDEO designed a more patient-centric care cost discussion guide, and developed a new digital tool designed to help patients better understand and predict healthcare costs. The care cost discussion guide is currently being prototyped in two hospitals.

IDEO’s work with the Ministry of Health (MOH) extends to the communication strategy for a newly introduced government-sponsored insurance policy, MediShield Life. MOH recognized that government communications needed to incorporate important nuances to engage citizens around the new policies and benefits. Together with MOH, IDEO developed ideas for a citizen engagement strategy that brought to life a journey that includes how Singaporeans learn about a policy, sign up, and understand benefits and subsidies.

The Ministry of Manpower
One of the Ministry’s roles is to process work passes for foreigners, who make up 30 percent of the nation’s workforce. The Ministry was known for its speed and efficiency, but not its customer service. IDEO partnered with the Ministry’s Work Pass Division to design all of the touchpoints around acquiring a new work pass—from the letters applicants receive to the website, physical space, and the interactions that occur there.

In addition, IDEO embarked on a series of projects with the Ministry of Manpower (MOM) aimed at streamlining and simplifying its communications. Together, they addressed the question, “How do we create communications that are easily understood and better engage MOM’s customers?” Starting with the most common letters sent out by MOM’s Work Pass Division, they defined a more customer-oriented tone of voice and visual style. To scale up the new approach, IDEO trained many MOM officers to write with the customer’s perspective in mind.

The National Population and Talent Division
The agency asked IDEO to better understand the underlying reasons for Singapore’s all-time-low birthrate and design ways to encourage Singaporeans to have more children.

The Ministry of National Development
More than 80 percent of Singapore’s citizens live in public housing. The Ministry asked IDEO to bring to life Singaporeans’ notion of home and identify ways to keep their aspirations at the center of their work.

Building creative confidence across Singapore’s public sector will be an ongoing journey, but the country is actively building the tools it needs to maintain its citizen-centered approach in an increasingly complex world.

After losing both legs below the knee and half of one arm in an accident, Dr. BJ Miller knows what it feels like to be near death. But after recovering, Miller became a doctor, joined the faculty of UCSF, and is now leading a conversation about patient-centered care and redesigning the experience of how we die. But such systemic change will require pioneering thinking, as our healthcare system, designed to cure, not caretake for the long term, prepares for an exploding elderly and chronically ill population.

Together with IDEO, Dr. Miller and Zen Hospice Project are bringing design to a broken system in hopes of helping people live fully right up until the end. Miller was invited to TED in March, 2015 to deliver the closing talk. In concert, IDEO designed a landing page and call to action to support Zen Hospice Project’s mission, flagging the campaign with the hashtag #designabetterending.

Early renderings for a new palliative care facility that would enliven end-of-life care with rich, engaging experiences are also in the works. Read more about the collaboration in California Sunday Magazine and join the movement to help us design a better ending.

Stephanie is a college student. She runs a successful beauty blog and shares new finds with her 20,000 followers. Jennifer is married and lives in Chicago. She considers fashion to be an expression of her identity. How do we know all of this about Stephanie and Jennifer? They’re both eBay shoppers the IDEO team met while designing a better way for the retail giant to get to know their customers.

It’s easy to forget that behind data cells exist flesh-and-blood people. eBay has 128 million buyers and sellers, and wanted to find meaningful stories about real people in order to uncover their wants, needs, and behaviors.

The company partnered with IDEO to create a digital ecosystem that integrates Big Data, business opportunities, and customer stories drawn from IDEO interviews to give employees deeper insight into how and why people use the site.

The app, which launched in September 2012, is available on desktop and mobile devices to eBay employees worldwide. It’s an easily accessible resource for eBay employees where they can glean insights about their customers by learning about key customer types. The app brings customer needs to life using words, images, and video interviews from select research participants. The power of that experience prompted eBay to overhaul its website, too, giving it a fresh, human-centered appeal.

Many younger customers described venerable fashion retailer Belk as “their grandmother’s store.” Belk, with 300 stores in 16 Southern states, was looking for ways to stay competitive and woo these style-savvy millennials. The goal was to create a trendy, social, affordable, and distinctly Southern shopping experience.

Belk’s innovation team and IDEO conducted research with twenty-somethings to develop the look, feel, merchandising strategy, and service experience of a new offshoot brand. Fresh and modern, Belk’s new pop-up store Belle & Ty features contemporary fashion along with a real-time Instagram wall, a style lounge, personal stylists, and weekly trunk shows. The pop-up store also serves as a learning lab for Belk, a place to prototype offerings for a new generation. Local fashion bloggers called the store “a must-stop shop during Christmas,” and Sue Curley, VP of Innovation at Belk, said, “Belle & Ty has been a great learning lab for us to connect with an important customer segment, test new ideas, learn, adjust, and test again.”

1. What inspired #clientwork?

I had been drawing for about six months, specifically for an art show, and I was sorta cashed and looking for the next rabbit hole. We hosted another Fortnight (our artist-in-residency program) in the Chicago studio, and I was really lucky to act as a mentor to C.M. Ruiz, from Seattle.

He is a Xerox machine master; he just makes incredible art with the most humble tools. We spent a lot of time just hanging out in the studio talking about art and making shit. It was a three-week jam session and I got super inspired and just started making the ugliest designs possible using only the Xerox and markers, paints, etc. FUN.

The Clientwork hashtag is just something that has bounced around in my brain for the past few years. We as makers, designers, artists, etc., often try to separate our lives into two buckets: the work we get paid to do (Clientwork) and the other, fun stuff. I really dislike that idea! I feel like the entire body of making should just be THE WORK, dig? My IDEO jams for Allstate or Chicago Fire or ConAgra should feed my weirdo artlife and my weirdo artlife should come with me inside project spaces.

Freelancer and IDEO contractor Kyle Fletcher has been influential in helping me learn this lesson, as he is constantly bouncing back and forth between design and art, yet it all feels very KYLE FLETCHER.

I tag things with #clientwork that obviously are not client work to (hopefully) push this idea. The idea of doing really dumb, silly, sometimes provocative ads for companies that aren’t paying me is scary. I’m making something and I think it looks AWESOME and I write NIKE or VANS on there because, to me, IT SHOULD BE A VANS AD. I suppose that part is my own little secret joke. No one knows if I actually like Nike or not, or if I eat Hormel Chili (I do, duh). It’s not like I’m tagging them super hard or trying hard to be seen by the brand puppet masters… but there’s something really frightening about half-assedly drawing a corporate logo on a terrible collage or drawing and sending it into cyberspace. I’ve told myself that I’ll either do this as long as it’s fun or until I receive a cease-and-desist. I actually sorta worried if anyone from IDEO was going to come down hard on me, but so far only a minor slap on the wrist that I deserved.

2. Does this work make doing your day job easier?

Easier is a strong word. DESIGN IS HARD, and I’m not taking the piss. Doing the daily art jams does help keep my brain active. I’m trying so hard to get in the zone and stay there. IDEO can be so stimulating sometimes that I find it hard to focus. Everyone knows what it’s like to get that precious two hours of heads-down time when you have to work FAST to get something on paper. Trying to think like a designer/artist 24/7 takes practice. It’s hard to be in the zone all day!

3. Name one artist or designer you consider unassailable and tell us why.

Ian MacKaye will never re-form Fugazi to play Coachella for millions of dollars. And for that I am very grateful.

‍

If you're not following designer Zach Hobbs on Instagram, you're not truly living. The sheer volume of artwork he posts there and on his website makes us wonder how he manages to stay awake in the office. We asked him about a pleasingly tart series titled #clientwork (which is occasionally #NSFW).

I had just relocated to the Bay Area after five inspiring years at IDEO Chicago. The Chicago studio is a tight-knit family of roughly 70 or so friends, often known for taking extra moments out of our day to inspire, uplift, thank or prank one another in the course of the work we do.

The IDEO San Francisco mothership, however, is much larger; nearly 200 strong across four independent studios. As such, it can be difficult for a new guy to know exactly how our forgiveness in lieu of permission culture manifests itself across locations.

It turns out quite well, I found.

Nine days into my tenure at IDEO SF, someone snapped a photo of Ethan, who had come up with a clever solution to shade his eyes from the passing sunlight as he worked (see above). The photo went out in an email to the entire location. The subject line: "Innovation".

If you're anything like me, you simply cannot see a photo like this without your mind beelining to Photoshop Battle. So, I made a few quick edits and offered up my reply-all:

It would be an understatement to say that I succeeded in learning what I set out to about my new colleagues. When the dust had finally settled, the thread was comprised of more than 50 unique entries submitted over three days.

Check out some of our favorites, below:

The original photo is on Instagram now. Share our glory.

I was barely into my second week at IDEO's San Francisco location when a particular opportunity to get to know my new colleagues presented itself.

‍

Less apparent to outsiders is the fact that the creative license that comes with making IDEO eye-candy serves a very important purpose: It’s an antidote to the intense and often prescriptive nature of designing for clients. Event posters allow us to stretch our legs, color outside of the lines, and take a new tool for a walk around the block. And in a collaborative culture that is driven by the “we” and not the “me”, these one-offs offer a rare moment in the spotlight for the artist.

Check out the entire collection on Pinterest.

Be visual. It’s one of IDEO’s seven rules of brainstorming. Not too tall an order for those who are quick to start sketching when attempting to communicate pretty much anything. So when a special event gets dropped on our calendar, lots of hands shoot up volunteering to design a poster.

Where did the idea for Antibotics come from?

Stina Jonsson: It started as a simple brainstorm idea. I was doing a project in Boston around nerve monitoring, and I drew a small pill on a Post-It that looked like a little character. It had nothing to do with pills really, or the project at hand, but I liked it so much that I brought the Post-It back with me.

From that initial idea grew a larger one, to think about how we could use these characters and storytelling to help people with their medication. We’d done a ton of adherence work for rheumatoid arthritis sufferers, as well as helping people take their insulin. Eventually the characters become little robots and the Antibotics were born.

Can you explain how the Antibotics work?

When a child is prescribed antibiotics, their parent receives a pack of the Antibotics. The pack holds clear pills that have individual robots inside them. The child picks one and swallows it. Their parent then logs onto a computer or tablet, and along with the child, proceeds to read the first chapter of a fun, educational story about the robot-fighting bacteria inside the child’s stomach. Each day after that, parent and child pick another robot to join the crew, and with each episode learn more about how antibiotics work, until the course and story finishes.

What problem is Antibotics trying to solve?

The overuse and incorrect usage of antibiotics—not finishing the entire course, for example— can make bacteria multi-resistant. Without effective antibacterial drugs, a simple operation might lead to an infection that can kill. And the economic consequences are huge, one estimate puts it at £1bn annually in the UK alone.

You’ve got a background in cognitive psychology. Can you explain the science behind using storytelling to improve adherence?

Research on the impact of storytelling on memory shows that the human brain is better at retaining and recalling information and concepts when they are presented in a story format.

Information structured through a narrative makes for very powerful mnemonic devices because stories provide order, allowing new information to slot into existing schemas and cognitive maps we already have about the world.

The story format provides familiarity and predictability, setting us up to take in new information and vicariously deal with emotional stress and conflict through the the story’s protagonists.

Studies have also shown that stories affect brain chemistry, which is connected to behavior change.

What’s next for the concept?

At this stage Antibotics is only a concept, but we’re looking for someone to work with to take it further.

*The Antibotics were brought to life with help from communications designer Jack Haslehurst and interaction designer Miha Feus.

Bacteria beware, here come the Antibotics. Created by London-based interaction designer Stina Jonsson, these cute robotic germ-fighters educate kids and parents alike on how to take antibiotics properly, and defeat the rising army of resistant germs. We asked Jonsson to tell us more about how the 'botics came to life.

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.

‍

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.

‍

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.

‍

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.

‍

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.