Master Kong (known internationally as Tingyi Holding Corporation) is number one in market share in both instant noodles and ready-to-drink teas, with over $10 billion USD in annual revenue. While China has a rich tea culture, most sugar-free bottled tea on store shelves markets itself as “healthy” and “tasty.” Wanting to set itself apart from the competition by uncovering new consumer needs, Master Kong reached out to IDEO. Together, Master Kong and IDEO immersed themselves in modern Chinese tea culture and built a new, premium, sugar-free bottled tea brand that resonates deeply with contemporary tea drinkers. ‍

During research, the combined IDEO/Master Kong team took a two-pronged approach to uncovering new opportunities: industry exploration and consumer research. The team visited various tea-related businesses, from traditional tea houses to modern beverage shops, as well as “third place” tea spaces outside of home or work. They also conducted in-depth, in-home interviews with consumers with various levels of interest in tea, delving deeply into their daily routines to better understand their lifestyles and any emotional or functional needs related to tea.

The team discovered that the essence of Chinese tea culture resonated with contemporary consumers’ longing for authenticity, simplicity, and physical rejuvenation in their fast-paced lives. This insight presented a unique opportunity for Master Kong. Instead of positioning its new sugar-free tea brand as merely a “healthy alternative” to other beverages,  it could spark a meaningful connection to tea culture, seamlessly integrating into various moments of modern life.  

Armed with this insight, IDEO designers and dozens of Master Kong beverage team members participated in a series of immersive, hands-on tea innovation workshops. Teams of experts from R&D, marketing, supply chain, and other company departments temporarily set aside their job titles to explore, iterate, and refine dozens of new tea concepts that were commercially viable, feasible for mass production, and aligned with consumer needs. The cross-departmental collaboration allowed for a broad mix of perspectives, experiences, and expertise, enriching the innovation process.

The co-creation sessions led to a new sugar-free tea product and flagship brand called Cha De Chuan Ren (“Descendants of the Tea”), which celebrates fine, origin-sourced tea and the passion and dedication of tea farmers. The novel concept resonated strongly with consumers and was validated during subsequent rounds of quantitative market testing, ensuring its relevance and market potential.

Cha De Chuan Ren launched with two signature flavors: Tieguanyin (green tea) from Fujian and Pu’er (black tea) from Yunnan. The unique mottled bottle design pays tribute to traditional handcrafted glass containers and the handiwork of tea farmers. The tactile paper label, which features Jia Ma-inspired woodblock illustrations of local tea fields and tea farmers’ hands, nods to the artisanal craft of tea making and the source of the tea inside.

“Descendants of the Tea” debuted on Tmall in April 2024. It claimed the top spot on the commerce site’s Tea Beverage V-List in August and September. Offline, it launched in FamilyMart convenience stores in May and has since expanded nationwide. The new brand received a 2024 Red Dot Award for “Brands & Communication Design.”

‍

“We are honored to collaborate with IDEO, a global leader in innovation, as our strategic partner. ‘Descendants of the Tea’ is not just an exceptional product but also a tribute to the rich heritage of tea culture. Only by continuously integrating culinary traditions with innovation can we sustainably meet consumers’ true needs.”

Richard Chen
‍CEO, Master Kong (Tingyi Holding Corporation)

“Innovation is incredibly fragile. If even one leader is unsupportive or hesitant, the culture of innovation can collapse. I always encourage my team to take risks, as long as they’re not high stakes. After all, what’s the worst that can happen? At the very least, we’ll have a fair chance at creating something new.”

Wei Hong-Chen
‍Chairman of Master Kong Beverage Holdings Co., Ltd.

Sugary bottled teas were once very popular in China. Today, rising consumer demand for healthier beverage options has expanded the market for sugar-free tea.

#1

on Tmall’s Tea Beverage V-List, August- September 2024

2024 Red Dot Award Winner

‍for Brands & Communication Design

Twenty years ago, carrying a single-use plastic water bottle was a status symbol—no more. Growing awareness of the negative environmental impact of plastic pollution, combined with the adoption of healthier lifestyles and social media influencer trends, has made reusable water bottles “it” accessories for on-the-go consumers. While brands such as Stanley, Yeti, S’well, and Hydro Flask own the under-$100 market, fashion brands such as Louis Vuitton, Chanel, Dior, and Prada have etched out a new and growing market for high-end bottles that appeal to discerning, trend-conscious young people looking to perfect their hydration habits.

Spotting an opportunity to disrupt the predominantly utilitarian water bottle market, Steinmann partnered closely with IDEO, tasking the team with developing an industrial design that perfected the tactile and sensory user experience, from drinking and carrying to disassembling and cleaning thoroughly. The collaboration deepened over time, with Steinmann and IDEO working together to develop the high-level engineering concept, the OKAPA logo mark, and packaging ideas.

Key user-centered features of the OKAPA bottle include a medical-grade German borosilicate glass interior for superior taste of hot or cold beverages with no lingering odors; a Swiss-engineered thermoplastic lockable and leak-proof tilt cap that can be easily operated with one hand when driving or doing other activities; and an ergonomically shaped mouthpiece for a pleasurable drinking experience. Precision-engineered for maximum longevity, the inner glass bottle is suspended via a shock-absorbing system inside a bead-blasted, extruded, and anodized aluminum outer shell. Eight modular parts come apart easily for either a quick or thorough cleaning.

At its core, the OKAPA bottle elevates an everyday ritual through meticulous design and uncompromising engineering. Launched in January 2025, the new bottles are available in eight contemporary colorways curated by renowned color and materials specialist Beatrice Santiccioli (BSD), including Misti Pinku, Goldie Samba, and Fetishe Noir, among others.

In the US, the reusable water bottle market is estimated to increase from $10.2B in 2024 to $14.1B by 2031, with 69 percent of Gen Zers owning at least one. Customization trends, such as personalized design and branding, are anticipated to boost the market, ripe territory for disruptive startups such as OKAPA. (Persistence Market Research)

Once a practical accessory for hikers and outdoor enthusiasts, reusable water bottles have gone mainstream. Yet none check all the boxes in terms of purity of taste, hygiene, durability, functionality, and beauty.

8

modular pieces ensure hygienic cleaning is quick and easy

100%

recyclable materials in each bottle

The Cornell Lab of Ornithology’s mission is to interpret and conserve the earth’s biological diversity through research, education, and citizen science. Over its 110-plus-year history, its offerings grew to include everything from a quarterly magazine, popular websites and apps with millions of users (Merlin, eBird), partnerships with outside organizations, and the world’s largest database of photographs and audio recordings of birds. This abundance is a testament to the passionate enthusiasm of its employees. Still, it confused potential members and led to siloed internal efforts, preventing the Lab from advancing its urgent collective vision. “Birds and biodiversity are in peril,” said Executive Director Dr. Ian Owens. “We must take radical action with a coherent vision, united voice, and purpose.”

IDEO began by helping the Lab better define its audience. While primarily composed of people passionate about birds, IDEO discovered its larger audience was nature lovers interested in biodiversity, bioacoustics, conservation, and science. From there, IDEO created a brand strategy and architecture focused on helping the Lab streamline its efforts under the “One Lab” brand. The brand architecture visually articulated the relationship between Cornell University, the Cornell Lab of Ornithology, and the Lab’s many products and offerings. IDEO designed a comprehensive brand identity system to work across mediums, including a simplified logo system, new colors, type, graphic language, voice and tone, and key messaging.

When the Lab’s design team began implementing the new branding elements across its website and many digital products, it became clear that the organization also needed IDEO’s help in creating tools to facilitate cross-department collaboration. To better understand the day-to-day nuances of the organization, IDEO designers worked out of the Lab, co-creating a brand activation playbook. The playbook, launched in 2023, contains recommendations for new cross-functional working groups (partnerships, visual identity, and brand voice), as well as exercises and interactive tools designed to build trusting relationships, gain alignment, foster collaboration, and manage change at scale.

Post-collaboration, the Lab has applied the new brand across its website, apps including Merlin and eBird, Living Bird magazine, email and newsletter templates, and its line of merchandise. A new internal brand guidelines site has become central to employee onboarding, while new working groups are helping to bring down barriers between teams and spur collective action. Like a flock of birds, the Lab now sings one collective song.

The Cornell Lab’s 300+ scientists, professors, staff, and students were passionately dedicated to their individual team’s unique conservation projects, but segmented internal systems could stymie their collective impact.

1 brand

unifying 300+ employees and 8 departments

Founded in 2008, Ascend Public Charter Network prides itself on providing “rich, joyful learning experiences that unlock lives of boundless choice” for its students, 93 percent of whom identify as Black or Latinx. The organization is also proud of being Black-led: 78 percent of staff and 80 percent of the executive team are people of color. Using co-design and joy, IDEO held a mirror up to Ascend’s core optimistic spirit during a moment of anxiety and change, helping its new CEO, staff, students, and parents reflect a dynamic, collectively imagined vision.

While the project’s goal was serious, the combined team centered the collaboration on bringing back fun, beauty, and imagination to those who could use it most: educators. Through engaging interactive activities, the IDEO team invited principals, PTA members, student council representatives, and board members to join “organizationally sanctioned play” moments like creating collaged vision boards and writing poems about Ascend’s impact. These interventions helped burned-out educators escape the day-to-day tasks of running schools and dream expansively about Ascend’s future. The team also solicited written, visual, and audio stories, asking community members to describe Ascend at its very best.

Stitching together submissions from 551 students, 75 parents, and 16 staff members, the co-design sessions resulted in a powerful new purpose, mission, and values, as well as a vibrant visual language and activation tools to bring Ascend’s vision of a “dope,” “unapologetically Brooklyn” charter network to life. The joyful, eye-catching visuals are embedded throughout its 17 Brooklyn schools, staff recruiting and training materials, and digital presence.

Shortly after the collaboration with IDEO, Ascend received an unsolicited  $11 million donation from MacKenzie Scott's foundation, Yield Giving, the most significant gift the then-14-year-old institution had ever received. The pivotal funding will allow the organization, with its bold new “grown-up” vision, to focus on becoming the school of choice in Brooklyn by 2027.

In the summer of 2021, one in four K-12 teachers was ready to quit. Pandemic stressors and increased curriculum scrutiny were to blame, according to a 2021 Rand Survey.

In 2022, 44% of K-12 workers reported burnout, the most of any US professions the time, according to a Gallup Poll.

Pandemic exhaustion and leadership turnover left Ascend’s new CEO eager to align staff around an exciting new vision.

‍

$11M grant

Ascend received an $11M grant from the MacKenzie Scott Foundation a few months after the collaboration

1 collective vision

to guide a network of 17 schools

‍

The daughter of British and Japanese mathematicians, Sputniko! has become both a fashion icon and feminist spokesperson in Japan for speculative designs like the Menstruation Machine (which imagines a future without menstruation, in which people simulate having periods as a nostalgia exercise) and The Red Silk Of Fate (in which genetically-engineered silkworms produce a thread impregnated with the love hormone oxytocin—the perfect material to weave into a seductive outfit). We wanted to know more about why she chose speculative design as a medium, so we caught up with her to ask a few questions.

COMMUNICATING IDEAS THROUGH POP VIDEOS IS A BOLD MOVE. WHAT LED YOU THERE?

I started as a pop musician. I was writing songs when I was at Imperial College in London, before going on to the Royal College of Art. So I was already making music videos. They seemed like a good way to challenge the "high art" culture. I liked pop art, like Jeff Koons, Takashi Murakami, and Andy Warhol. Plus, at the time I was graduating in 2010, YouTube was becoming more significant. So I wanted to tap into that. Nowadays, the internet is so important for this kind of work. I thought that there needed to be more new speculative design work that was intentionally aligning with internet culture and viral culture.

HOW DO THE SCIENTISTS AT MIT FEEL ABOUT HAVING THEIR WORK PORTRAYED IN THIS WAY?

I work hard to be close to the scientists, and discuss with them how to best show their work. So far their reaction has been very positive. Some of the genetic engineers I've worked with have been getting more interest from investors because of the media interest. I think that a lot of scientists secretly want to be passionate and tell stories about their work. But they can't, because they need to be very precise. With us, and these stories, they can detach from that precision in a good way.

Crowbot Jenny by Sputniko!

WHERE DO YOUR IDEAS COME FROM?

I read a lot of science news blogs—I'm an information addict. I'll go through the news about AI, genetic engineering, and so on. What designers can do is imagine a consequence of these new technologies. If any of these imagined narratives ring a bell for me, then I'll do further research, in order to make the idea more concrete.

WHAT TECHNOLOGY IS CAPTURING YOUR ATTENTION RIGHT NOW?

AI and self-driving cars. And of course genetic engineering. But right now, my hottest interest is blockchain. This new system for handling money and identity is increasingly being adopted. Many people are thinking about it in terms of security. But creatives can think of other consequent narratives that could come from Blockchain. For example, how could it change lifestyles?

YOU'VE BEEN AT THE MEDIA LAB SINCE 2013. HOW DID YOU END UP THERE?

I first came to the Media Lab as a TV reporter when I was 27. I had my own TV show in Japan about design, and I came to interview Nicholas Negroponte. I told him how interesting I found the Media Lab, and he responding by telling me that they were looking for a new assistant professor in the arts category, and that I should apply. I was like, what? Me? I don't have a PhD! But I applied, they liked my work, and they invited me to start a new group.

Red String of Fate by Sputniko!

WHAT'S THE ACADEMIC EXPERIENCE LIKE FOR YOU?

I love being in this environment. The only thing that is a challenge is that academia is very paper-based. I don't publish papers, nor do my students. We are more about exhibitions and storytelling. It's not so much in the academic format.

WHY ARE YOU CALLED SPUTNIKO!?

It was my high school nickname. I attended an American school in Japan. I was tall and pale and I liked science and space. So the other students thought I must be half-Russian rather than half-British, and they started calling me Sputnik. Japanese girls' names often end in "ko", so Sputnik became Sputniko. Then, when I started doing music gigs as a student in London, I added the exclamation mark, because I liked the German band Neu!. It was completely not serious—just a band name. I never expected to be making and showing work, let alone teaching at MIT with this name. In Japan, when I go to symposiums and conferences, government ministers call me Sputniko-san. It's so surreal. My name reminds me of my weird career path.

YOUR WORK IS VERY CROSS-CULTURAL. WAS THAT A PRODUCT OF YOUR UPBRINGING?

Partly it was having a British mother and a Japanese father. And also growing up in Tokyo, where western culture and eastern culture are present at the same time. I grew up in Shinjuku. It's where all the skyscrapers are, but also yakuza bars and the red light district. My parents are both mathematicians, so I was surrounded by math. But I also liked art and music. For example, take the way I read books. I usually read about ten books at once, on a kindle. I usually just read five pages at a time. And then I move to the next book. The way I consume information is very parallel. For me, associations and connections are the seeds of my creativity.

DO YOU OVER WORRY ABOUT BEING OVERLOADED WITH INFORMATION?

Overload is not so much a problem for me. For example, I get my eyelash extensions done every three weeks. While that happens, I have to close my eyes for an hour. Which means that I can't look at my smartphone. I used to hate doing eyelash extensions so much. But then I found an eyelash specialist who was a beauty technology expert. She's like a Google for me. When I close my eyes I always ask her, what's a new technology that you've found? That's an example of how information-addicted I am.

The designer and artist Sputniko! may sound like she's from outer space, and that's not far from the truth. An associate Professor at the MIT Media Lab, her work feels like a Large Hadron collision of design, fashion, technology, and pop music—all filtered through the multiple personas she presents on YouTube.

A few years ago, I traveled to Amsterdam in the wintertime. Amsterdam is famous for having rivers flow through its streets, but this winter, the rivers were frozen and they became new roads. Simultaneously, people took advantage of the sudden change and switched to an alternative form of transportation (ice skating!). One person’s thoughtless act can attract other people and become a sort of movement when other people start to join.

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.

Snow in NYC!

I decided to frame my questions into City Play Project—100 days to observe, create, and capture playful moments in the city. Sometimes I found playfulness in the street cats of Istanbul, or a serendipitous moment of two strangers dancing in the West Village, or even a painted mural in East London.

Once I started my 100-day project, lots of friends—even friends of friends—started making and sending me images of playful interventions from all over the world—Florence, Istanbul, Paris, London, New York, Tokyo, and San Francisco. The most wonderful part about it was seeing how each person defined playfulness. Comparing all the differences helped me find some universal truths. Here are six things I learned from the project.

1. Playing in the city makes you notice things in a completely different way

Once you start looking for playfulness, you see things differently. It’s almost like adopting a traveler’s mindset. A type of pavement or a trash can suddenly look more interesting. You realize that you can be more playful with everything—even your own shadow.

2. It’s contagious

When you play in streets, others play with you. One moment can inspire a movement—just like the sticky notes in the New York subway. Sometimes, you just need to find a way to give others permission to join you in changing the city around you.

Taking over the subway with post-it notes!

3. Playing alone is harder than playing with others

People are terrified by empty spaces, public humiliation, and interacting with strangers in the street. Being silly alone is hard, and being silly with strangers is even harder. Often, we need encouragement from friends to start playing. The person who goes first makes it easier for the rest to be more playful.

4. It brings intimacy, trust, and love

Playfulness brings people closer. If you are brave enough to play with strangers, you can build trust in an instant, unspoken way. People who have never met before can play together. It helps you see the child in others and initiate creative collisions. It creates intimacy, and all that magic leads—or might lead—to love.

Play with city signs and spread the love.

5. Playfulness builds confidence

Allowing yourself to be more playful when you are walking down the street brings more confidence. You become more comfortable with your surroundings, and in how you interact with people, even—strangers. You stop asking for permission to do things, you just do them. A playful mindset allows you to try things, step up, express your thoughts in a physical way without being shy about it.

6. A framework can help encourage it

Constraints may seem like the last thing we should think about when we play, but they can actually spark playfulness. Constraints aren’t always restrictive—especially at an urban scale. The limitations of a cul-de-sac or the weather can push people to unique ways of playing. Sometimes it’s the boundaries that makes us embrace playfulness.

Want to join me in observing playfulness in cities? I challenge you to do the same! Tag your photos with @cityplayproject.

‍

I’ve always been intrigued by what makes city life so charming. Having spent most of my life as an urbanite, I’ve come to realize that what captivates me most is the playfulness I see around me. Just as we can find inspiration by writing or reading about what interests us, I decided to find inspiration through observation. I wondered “How does play affect how we behave in cities? What are the social and physical effects of play in urban design? If we played more in cities, would we be happier? Fall in love more often?”

Spirit is a simulated AI, a provocation created by IDEO’s London Studio in response to a commission from the Design Museum. It asked designers and their teams—including Yves Behar of fuseproject and furniture designer Konstantin Grcic—to contribute to a project on the future of aging as a sequel to an exhibit of the same topic that they hosted 30 years earlier. The museum asked IDEO to explore what community might look like in the year 2047.

For our project, we aimed to start a dialogue about the role emerging technologies might play in the way people connect as a community. In the future, we may no longer need to drive our children to school, speak with anybody to go grocery shopping, or visit a human doctor. Technology often makes us more independent, and less reliant on human contact and support. To counter the social isolation that may arise, we developed the concept of a free and open-source social AI, a system built to foster strong and healthy communities by strengthening social bonds and keeping people active and mentally stimulated.

Creating the Exhibit

We designed the interactive part of the exhibition for three reasons: We wanted to give visitors a glimpse of what it would be like to interact with an artificial entity; we wanted to see how people would feel about the interaction; and, obviously, we like playful experimentation and prototyping.

Current AI technology is in its infancy when it comes to having a real dialogue with a human being. But just as autonomous cars learn with every mile they drive, these technologies will learn the more they interact with people. Current popular AI products (Siri, Alexa, etc.) listen to user commands and respond. We found it interesting to reverse that by having our Spirit actively ask visitors questions, and rather intimate ones, including: What makes you happiest? What would you be scared of forgetting? Would you trust an artificial intelligence to choose your friends? If you lived to 120, how many partners would you want to have?

The exhibit had two states: An idle state where visitors were encouraged to talk to Spirit and it displayed selected quotes from previous visitors and visualized the data it gathered through a generative visual design, and an interactive state.

The interactive dialogue state took place inside an audio booth. The system greeted visitors with an audiovisual message and a stylized speech-bubble that mediated the conversation. The system then asked different questions, engaging in deeper conversation over time. For example, Spirit might ask, "What makes you happiest," and the answers could vary from "rich relationships" to "when it stops raining," "playing football," or "creating new things and solving problems." Each answer created a new pebble in the visualization, the color, size, and shape of which were determined by an analysis of the length and the emotion of the response. When the visitor finished answering, the pebble merged into a sea of pebbles representing all of the interactions collected so far.

Visual interface design and data visualization by Studio Waltz Binaire

Building Spirit

The technical challenge of the exhibit was to have the system running for five weeks, seven days a week, eight hours per day. There were a lot of pieces talking to each other, and we needed to be able to track the feedback from thousands of visitors.

Spirit used a bespoke script to follow the conversations, and when the answers veered too far from what it had anticipated, it would send the answer to a chatbot API to find an appropriate answer. Unfortunately, the voice to text turned out to be not very reliable in the museum environment, so we focused on the scripted questions.

The technical setup consisted of two components: the audio booth and the large display facing it. To let Spirit know when somebody was present in the booth, we installed an Arduino with an ultrasonic sensor that communicated with an iPhone 6 via Bluetooth. The iPhone was connected to a directional microphone and a speaker.

Here is where the magic happened. On the phone, we ran a custom app. The app turned the voice into text using the Apple Speech Framework, and then analyzed the emotions in the answer using IBM Watson, an iconic AI developed by IBM, while also checking if the answer is in the pre-written script. If it wasn’t, it used another API to get an answer from the chatbot. The information about the answer and emotions was stored and sent to a custom program written in vvvv that communicated with the iPhone app via OSC.

Ambient noise was our biggest worry. It could have prevented the system from understanding visitors’ answers. Also, the position of the microphone was fixed, so reaching different visitor heights and voice volumes was a challenge. This actually proved to be a problem, as there were several interactions in which the voice was unintelligible.

The Data

One good perk of the interactive system is that we had real-time access to the data, so we could follow how well the installation and exhibition were performing, and what the audience was saying. After the exhibition ended, we found a bit more time to use Python and Pandas in the analysis, and Excel to plot the results.

We had a total of 8996 individual sessions with Spirit during the exhibition, about 10 percent of the visitors to the Design Museum.

The emotion recognition system that we used, IBM Watson, is not yet totally reliable (as an example, “yes” was considered a 100% J=joyful answer). But with the amount of data we gathered, the system was still able to give some hints about visitor moods. And the variations in mood could be correlated to external events. For example, we saw a peak in feelings of joy on the 24th, when London hit its highest temperature after a cold January.

When we looked at the answers, we discovered that they seemed more spontaneous and playful than others given via written questionnaires. They were also more honest, suggesting that for some people, sharing intimately with an AI might be less intimidating than talking to a human interviewer. Others, though, were critical and disconcerted. It became clear that it is important to start a dialogue about how we want to interact with AI in our daily lives.

Though the experiment obviously didn’t culminate in a fully-formed product to help the elderly, the interaction model helped us create the kind of AI we would need to build community and increase social interaction, and allowed us to test people’s reactions to emotional and intimate questions from an AI. The experiment also directly related to the work we do with design research. We frequently send design researchers out into the field to talk to people to learn more about their needs and habits, and how we can design solutions to fit their lives. Our work with Spirit begs the question—could even a design researcher be replaced by an artificial researcher at some point? For now, we don’t have a lot of answers, but this experiment helped us push our understanding forward, and we’re excited about the AI-driven insights that will come in the future.

In the top floor of London’s Design Museum, as dozens of visitors walk by and the rain hits the windows, a woman speaks with an AI bot called Spirit. It asks her how many partners she would like to have if she can live until she is 150. She giggles and answers. “Just one—and that is because my husband is next to me.” According to Spirit’s analytics, her answer is 33% sad and 12% joyful.

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.