Looking to understand the role of instant noodles in middle-class Chinese life, the IDEO team conducted in-home research with consumers across a range of life stages and levels of attachment to noodle culture and convenience foods. The first finding was reassuring: Everyone kept instant noodles at home. The category still had a place in middle-class kitchens. But beneath that was a more complicated, emotional story—and an unmet need for convenience and quality to coexist in a single product.

The team discovered that instant noodles are more than just a quick, on-the-go meal; they are a nostalgic comfort food that evokes fond memories. But since their heyday, their role in daily life has evolved. Once a complete meal in itself, instant noodles now often function as a versatile flavor base or culinary accent in other dishes. Because they don’t align with the healthier, higher-quality, and more novel food choices that middle-class consumers aspire to, noodle shops, delivery noodles, or fresh-cooked instant options often win out. Yet, even these alternatives come with trade-offs. Delivered noodles lose texture during transport. Sit-down noodle shops preserve quality but offer limited flavors.  Cooking from scratch meets the bar for both texture and flavor, but requires a significant time investment. As one young mother said, “If I could get the texture of fresh-cooked noodles without turning on the stove, I’d buy that instant noodle for sure.”

The research inspired the creation of a new category, which the team termed “fresh-brewed noodles.” More than just a noodle or broth upgrade, Master Kong’s fresh-brewed noodles would offer the speed of instant noodles with the quality of freshly cooked options, plus flavors not found in traditional noodle shops. The strategic positioning was clear. Executing it by making fresh-brewed noodles mass-producible, affordable, and eventually profitable presented a category-innovation challenge. To get there, IDEO designed a series of dual-track co-creation workshops with the Master Kong team and consumers.

One track focused on prototyping the core product experience: noodles, broth, and toppings. IDEO and Master Kong’s R&D team began by studying the traditional craft of Chinese noodle-making, starting in Shanxi, a region renowned for its noodles. Through successive rounds of prototyping and consumer tasting, the team identified a critical insight: for “fresh-brewed noodles” to be convincing, the innovation had to be centered on the noodles themselves.

Texture alone was not enough. Consumers needed to see a meaningful difference before they tasted the product. IDEO translated this insight into a distinctive noodle profile: irregular, dimensional shapes designed to remain springy, hold sauce and broth, and mimic the resilience of freshly cooked noodles using only hot water. Because this visible shape represented the product’s core value proposition, it became a hero feature on the packaging. The graphic design made a bold visual statement about the noodle form, turning a technical R&D breakthrough into an immediately legible consumer promise: these are not ordinary instant noodles.

A parallel track explored the broader commercial experience: trend-forward and reimagined classic flavor profiles, light yet deeply satisfying broths, carefully selected toppings, and packaging that signals a new level of quality on store shelves. One key insight was that utensils carry meaning. Conventional instant noodles are often associated with disposable plastic forks, while higher-quality noodles are eaten with chopsticks. IDEO translated this cultural cue into the design of the bowl’s lid.

Instead of treating utensils as an afterthought, the team designed a solid, rounded, heat-retaining lid that embeds a pair of small wooden chopsticks. The gesture creates a small ritual of anticipation and reframes the product—not just a convenient instant meal, but a more considered noodle experience. Once opened, the product fulfills that promise with satisfyingly bouncy noodles, a rich liquid broth pouch that replaces the traditional oil-and-powder packet, and a vegetable packet reformulated with more premium whole ingredients.

The first batch of “Te Bie Te” Fresh-Brewed Noodles—Chinese wordplay that emphasizes “special”—launched in August 2025 with three trendy and tried-and-true flavors. Within just three days, sales exceeded 100,000 bowls. Within a week, “Te Bie Te” topped the instant noodle category sales ranking on Douyin, China’s domestic counterpart to TikTok. The outcome was bigger than a product launch—it served as proof that a mature, declining category could be fundamentally reinvented to meet consumers’ real needs. For Master Kong, the project became a North Star and a model for internal category innovation in beverages, ready-to-eat foods, and beyond.

Once a popular, affordable staple, the instant noodle category in China has been declining rapidly due to shifting demographics, rising food delivery options, and increasing customer demand for healthier, more nutritious meals.

‍

According to the World Instant Noodles Association, between 2020 and 2023, China’s instant noodle consumption fell by 4 billion packs.

100,000+

“Te Bie Te” bowls sold in the first 3 days on the market

#1

on Douyin’s instant noodle category ranking within one week of launch

Taylor’s legacy began in 1969 with the founding of Taylor’s College and soon expanded to include Taylor’s University, one of Southeast Asia’s top private universities, as well as many other institutions that serve 35,000 students per year. The family-owned group also operates Taylor’s International Schools, Garden International School, and Nexus International School for students ages 4 to 18. In Kuala Lumpur, Malaysia’s capital city, annual tuition at premium private schools like these ranges from about $10,000 to $25,000 USD. Taylor’s wanted to do something different: provide the same level of academic rigor and immersive learning experiences at one-third the cost.

IDEO began by speaking with over three dozen students, parents, teachers, and experts across the capital to understand what was working, what wasn’t, and what was missing from such moderately priced international schools.

A few themes quickly emerged. Families, students, and teachers were worried about the stability of these new private schools, which tended to have higher-than-normal teacher turnover rates and were plagued by financial instability, negatively impacting talent attraction and retention, as well as student learning. Parents appreciated that the schools offered holistic learning experiences, such as field trips to rural areas, including jungles, but wished they were more consistently part of the curriculum. And now, the looming challenge of AI—how to use it, how to teach it, and how to teach with it—was in the background, a persistent cause for concern. The big unmet need? Reassurance that Taylor’s was thinking long-term and systematically about developing the skills, knowledge, and mindsets that would prepare students for an ever-changing world. Parents wanted a school that measured growth in academic, social, and character terms over generations, not just school semesters.

With these insights in hand, IDEO began developing a design Playbook for Taylor’s new brand—Lexel International Schools. A combination of “lexicon” and “excellence,” Lexel’s mission is “building what lasts, learning for life.”

The schools are centered around three key differentiators: 

• Always Ahead: Lexel schools commit to staying current with the topics and subject matter they teach, as well as the tools they provide to students, parents, and teachers.s.  
  ‍
• Learning That Builds for Life: The schools ensure programmatic, systemic, and consistent learning experiences from Pre-K to Year 11. Interested students can even continue their post-secondary journey in partnership with Taylor’s University and other higher education institutions within the Taylor’s ecosystem.
  
  
• Educators for the Long Run: These schools commit to ongoing investments in professional growth opportunities for teachers and stable learning environments for students.

Four Lexel Literacies—AI, Digital, Financial, and Nutrition—integrated into the Cambridge Curriculum bring the school’s vision and mission to life.

By systematically integrating AI literacy into its spiral education framework, in particular, an approach where major topics are revisited multiple times through a curriculum to build fluency over time, Lexel ensures parents that the school is thinking a decade ahead from Day One, setting the school apart. In addition to enhancing AI fluency, Lexel offers unique end-of-term experiences called Jungles & Junctions.

Combining three important strands of learning—community engagement, nature-based personal and interpersonal development, and career and university exploration—Jungles & Junctions leverages Taylor’s extended educational network and Lexel’s strategic founding campus within the Gamuda Gardens development in Selangor. Surrounded by tropical rainforests, the township’s residential neighborhoods, theme park, and various sports facilities, including an Olympic-length swimming pool, are transformed into an extended Lexel campus, with a GenAI-driven planner to help teachers streamline the organization of class outings. “The Township is Your Campus” became the tagline for this approach.

In September 2025, just months after IDEO’s collaboration ended, Taylor’s began classes at its first Lexel International School. By mid-year, the new school had achieved 115% of its year-one student enrollment target, with significant inbound demand for Year 2 already demonstrating the school’s market resonance.

The modern campus features spacious classrooms, science and technology labs, a library, a multipurpose hall, and a canteen. Annual tuition ranges from about $2,800 USD for pre-K students to about $6,100 USD for secondary students.

Most importantly, by combining Taylor’s deep academic expertise, Gamuda Land’s development prowess, and IDEO’s innovative design Playbook, Lexel brings quality, affordable international education closer to home for Malaysian families. According to one parent, “My daughter looks forward to going to school every day … and has a lot of opportunities to express herself. On a scale of 1 to 10, I give [Lexel] an 11.” Based on the IDEO Playbook, a second flagship campus in the Southern Klang Valley, which is scheduled to open in September 2026, has already exceeded its year-one target enrollment expectations, with plans to continue extending the Lexel network to other parts of Malaysia and the wider Southeast Asian region in the near future.

Malaysia’s private international school sector has grown significantly as parents seek quality English-language education. However, high tuition fees and limited access to reputable schools are continual challenges for those in the emerging middle class.

115%

of Lexel’s student enrollment target reached during the launch year of its first campus
‍

Year 1 enrollment target exceeded

at Lexel's second campus several months ahead of classes commencing

‍

The American news industry has long been a competitive and saturated market. This has only intensified with the emergence of social media outlets and AI-generated news. Even so, SAN’s rigorously unbiased, fact-based reporting style and rich video storytelling had enabled the ambitious startup to rise above the media fray in just three short years.

With a strong foundation to build on, IDEO sought to further differentiate SAN’s cutting-edge news product and build deeper engagement with a wider audience through a new user experience.

‍Collaborating closely, IDEO and SAN began by delving deeply into media consumption habits. They met with early SAN superfans, news consumers who spent hours a day absorbing content from traditional outlets like Fox and USA Today, and those who looked to their Ring doorbell app or Reddit for news. The takeaways? People were tired of clickbait and clunky interfaces. They sought clear, factual news that was easily accessible, with additional context to help them interpret events and understand their significance. They craved more than one perspective on important topics, so stories felt balanced rather than polarized. They also valued having control over how they consumed news, so making it easy to switch between text, video, and audio formats was crucial.

Together, IDEO and SAN created features across SAN’s website and app that put facts, trust, and transparency at the core of the product experience. Fact Cards distill key data points into clear, shareable units, while the Sources feature allows readers to trace information directly back to its original source. To make complex stories easier to grasp, Big Picture insights drill down into why events matter, surfacing underlying themes, historical parallels, differences in reporting, and common ground. The Why This Story Matters section provides readers with clear framing and sets the story within a broader context, while the Timeline illustrates how events unfold over days, months, or even years. An antidote to news polarization, See All Sides presents left, right, and center narratives for key topics side-by-side, and Media Landscape visualizations reveal how coverage varies across outlets. Finally, to ensure SAN fits seamlessly into readers’ daily lives, the redesigned Today Page is organized into three highly scannable sections: Latest News, Top Stories, and SAN Originals. The combined features create a balanced, clear, and non-polarizing news experience, making it easy for readers to delve deeper into the sources of their news.

SAN now delivers a news experience as modern, dynamic, and trustworthy as its journalism. A month after its debut, the SAN app’s page views increased 1,170 percent year over year compared to June 2024, while active users rose 700 percent. Readers also give the updated mobile experience a 4.8 rating on the Apple App Store. “Our team is delivering reporting that’s both deeply factual and accessible,” said Derek Mead, SAN’s Chief Content Officer. “This redesign is pivotal to the direction journalism needs to take and the leadership role Straight Arrow News is taking on as we help guide the news industry into a brighter future.”

SAN built a loyal readership and gained recognition for its unbiased reporting. To expand and stand out from legacy media, SAN  wanted a redesigned user experience that reflected its commitment to fact-based journalism.

1,170%

increase in app page views YoY 

700%

increase in active users

4.8 rating

on the Apple App Store

Sanofi was the first company to supply the polio vaccine worldwide. Because of the global fight against the disease, endemic wild poliovirus transmission is now limited to just two countries. However, attitudes toward vaccines and immunizations have shifted significantly. To ensure a smooth launch of Beyfortus in a time of increased vaccine hesitancy, Sanofi asked IDEO to conduct research across four important and very different healthcare markets: Germany, Spain, China, and the US.

IDEO worked with parents, caregivers, healthcare professionals, and healthcare administrators to identify potential barriers to vaccine adoption and understand the emotional needs of all stakeholders involved in the immunization process. Navigating cultural differences and diverse healthcare environments, the team uncovered a set of insights.

For healthcare professionals, the team discovered there was no one-size-fits-all approach to immunization training across Sanofi’s 20-plus global markets. While consistency of key information was important, trainings needed to be flexible and customizable. This way, regardless of whether the vaccine was administered by midwives, OB-GYNs, nurses, or doctors, they could  confidently discuss the pros and cons across cultural contexts and administer the drug correctly.
‍
For new parents, receiving information about a new immunization immediately after giving birth could be too stressful. But simply leaving pamphlets about Beyfortus in waiting rooms didn't address their real concerns, either. Caregivers needed to engage in conversations earlier in their pregnancies and continue them after leaving the hospital, when they might have additional questions.

IDEO translated these research insights into a highly accessible global communication toolkit that uses simple, straightforward language, metaphors, and illustrations to support informed conversations between healthcare providers and parents before, during, and after a child is born. IDEO then conducted a series of market-fit co-design workshops with representatives of Sanofi’s global immunization business to iterate on the print and digital tools, make them more resonant with regional customers, and ensure compliance with local regulations. IDEO handed the toolkits over for development to support the launch of Beyfortus in January 2024, just in time for RSV season.

Beyfortus saw enormous demand in its first year, demonstrating strong efficacy in real-world applications and achieving blockbuster status as a $1.8 billion therapy. Sanofi’s global launch team credits the patient-centric toolkit with increased requests for communication materials from its regional markets as well as from healthcare and government organizations that have typically been hard to reach, key goals of its global-local launch strategy.

Since its development, Beyfortus has received swift regulatory approval from the US, EU, China, and Japan, with patient demand causing Sanofi to triple its worldwide manufacturing capacity to meet the needs of the 2024-25 RSV season. Ahead of the larger global distribution of Beyfortus, IDEO and Sanofi partnered with equity expert consultants, Fearless Futures, to conduct a DEI review and worked with doctors and nurses who participated in the initial drug launch to make the materials even more accessible, relevant, and successful for 2025 and beyond. To date, six million babies—and counting—have been immunized with Beyfortus.

Worldwide, childhood vaccination hesitancy among parents fluctuates between 25-45%, according to the World Health Organization (WHO), a trend it considers one of the biggest global threats to public health.

85.9%

‍reduction in hospitalizations for infants who received Beyfortus compared to those who did not (2023–24 RSV season)

$1.8B

in first-year sales of Beyfortus

‍

Sixty years later, amidst technological advances that have spurred massive innovation and changed the face of science, we decided it was time to re-inspire today’s generation. James Musick, a digital communications lead at Genentech, came to us for help in creating an immersive iPad experience that would celebrate Watson and Crick’s seminal discovery, as well as engage the science-curious. But with three months to complete the project, we needed to hit the ground running.

Ralph and The Cheesy Mess

The idea of using a game or puzzle as a way to bring users into a world filled with genetics became an early favorite in the ideation stage. Puzzle-based gameplay was a great analogy to reflect the scientific process: from trial-and-error learning stages, to information synthesis, all the way through solving the puzzle and answering the question. A game hinging on a real-life genetic mechanic would be novel and stood to introduce the science to a new audience. If designed well, with engaging play and a compelling story, we would be able to integrate the science, narrative, and gameplay into a beautiful app.

We started off diving deep into the world of video games. We indulged in playing some of our tried-and-true favorites, as well as newer games such as Osmos and Eufloria to understand how they bridged science and storytelling. At the same time, we were learning about cutting-edge research in genetics through conversations with Jason Long and other Genentech scientists, listening to podcasts, and a hefty amount of reading.

Throughout this inspiration phase, we kept coming back to a wildly intriguing area of research called epigenetics, which focuses on how environments affect genetic expression. In short, epigenetics is the area of genetics that, given a fixed DNA makeup, tells the DNA which parts of the code should express themselves and how they should express themselves as determined by external factors like weather, stress, diet, etc. So while we may have a fixed genetic makeup, the environment still plays a large modulating factor in our genetic expression.

Our fascination with the content—combined with a teamwide love of comic books and mutant-origin stories—evolved into an epigenetic-inspired noir-puzzle game based on Ralph, an artisanal cheese-maker, and his cheese company Ralph's Killer Muenster.

The mechanisms of genetics

Early on in the ideation phase, Evan Shapiro, who would become a core team member and help prototype game logic, introduced us to phylogenetic trees and maximum parsimony theory. You’ve probably encountered phylogenetic trees in biology class, where they serve to illustrate evolutionary relationships among species. Maximum parsimony, on the other hand, is more obscure. It serves as a computational forensic tool to help us understand the evolution of genetic traits along the phylogenetic tree, as well as help us infer species evolution. With maximum parsimony, the “preferred phylogenetic tree is the tree that supposes the least evolutionary change to explain observed data.” After mulling that over for a bit, we decided creating and solving a phylogenetic puzzle by employing maximum parsimony as a scoring criteria was a great jumping-off point and a compelling challenge.

To test this, our first prototype was a paper prototype where we started with a sample origin genetic trait. We sketched out several generations by mutating one trait at a time, and created our own phylogenetic tree. Given the final generation of traits and no tree structure, the goal was to see if we could work backwards to recreate the tree structure and uncover the origin trait. Basically, reverse evolution. After a lot of finessing we came up with a rule set that actually reflected natural evolutionary rules and allowed us to solve the tree and find the origin species.

With this excitement, we spent a weekend programming a single prototype puzzle using mechanics that would become the main gameplay: players reverse engineer evolution by mutating a given set of species traits backwards to a common ancestor in the fewest moves possible. This was maximum parsimony made tangible. In order for the puzzles to be solvable, we had to use real evolutionary rules describing how the species’ traits can change. By the end of the weekend, we had puzzles and a game mechanic that were keeping us up late into the night trying to one-up each other’s scores, which, to us, meant we had hit the nail on the head.

From a design perspective, one of the significant balancing acts of the project involved weighing the desire to impart specific scientific knowledge against the value of experiential learning. When we used maximum parsimony it became clear that this was a perfect mechanic to give people an experiential interaction with real genetics.

Prototyping and puzzle design

From day one, Ralph’s Killer Muenster was an intensive prototyping project. The first bare-bones prototype of the puzzle was written in Qt because we wanted a framework in which we could rapidly prototype the GUI and could reuse game logic for the production app. Qt, although not extensively used, has great functionality and plays natively with Javascript and C++. It was a well-suited framework for prototyping the core puzzle experience, which included coding the evolutionary logic, adding and testing interactions, modifying visual communication, and testing informational displays.

Our daily workflow started with an early morning meeting so we could all share progress from the previous day. We spent the rest of the day implementing and testing new visuals and interactions on paper and integrating them into the Qt prototype architecture. Lastly, we tested them with people around IDEO to see how they reacted to specific design and gameplay decisions.

We used Unity for the production app in the development environment for many of the same reasons that we chose Qt. But Unity has the added benefit of working with native OpenGL, along with the capability to compile to iOS. As time-constrained as this project was, we still wanted to impart as much narrative and visual interest as possible, and Unity proved an excellent match for this challenge.

Nivi Ramesh, our interaction designer and art director, worked to create an amazing game landscape with analogies to microscopy and slide specimens. Working closely with developers at Substantial, we created layered and animated textures paired with OpenGL shaders to achieve the tone we wanted. We had parallel work streams throughout the prototyping phase, with one team working on developing the logic and overarching architecture of the production app while the prototyping team refined interaction elements, game mechanics, and informational displays in the prototype testbed.

What makes a good puzzle?

Before diving any further, we took a step back to make sure we got the puzzles right. Good puzzle games tend to adhere to some basic principles: They are purely cognitive challenges with a few simple rules, nearly infinite outcomes, difficulty that increases with mastery, and some clear goals. Plus, they're easy to learn.

In building the game, one of our most critical challenges was creating visual representations of the genetic traits that people would be using to solve the puzzles. People had to quickly grasp how they could manipulate and evolve the traits given the genetic logic. If we couldn't get people to make this mental leap, the game wasn't going to succeed.

A real genetic trait is made up of a snippet of DNA and is a long, winding series of genetic code (or, a lot of AGTC). To make the game approachable, we chose to abstract and simplify the cheese trait representations as visual identifiers that had a bit of mystery and were themselves a puzzle to decode. We tested many different ways of visually representing the traits, the majority of which people could not directly connect to an increasing or decreasing series. The simplest visuals turned out to be the most effective: shapes, dots, and lines.

With simple geometric shapes, people could see that moving from a triangle to a square to a hexagon involved moving through a progression of increasing the numbers of sides. Similarly, lines and dots worked well for understanding how the traits could be mutated. They were easily accessible by players in planning a strategy for mutation.

Less is more

After the weekend of playing the prototype level, we needed a way to determine the optimal solution to these puzzles so that we could give user feedback and help players improve in the game. With Ralph's Killer Muenster, an optimal solution for any puzzle involves making the “most parsimonious” decisions, i.e. using the least number of moves or fewest mutations. We needed to find a way to reward people for doing less, contrary to typical game design where users are rewarded for doing more. Without a clear and appropriate qualitative feedback mechanism, we found that people were finishing puzzles without any sense for how much better they could perform.

Scavenging the Internet for a tool to analyze phylogenetic trees uncovered Mesquite, a software package built specifically for computational biology and evolutionary analysis. After learning from tutorials produced by Harvard University, we could solve the initial species sets and puzzles we had created, and arrive at the most efficient tree structure and trait mutations.

We used the statistical language R to generate thousands of possible levels, export files for Mesquite to crunch, and output the moves required for each level into a custom level file that we could use to test in our prototype game.

Levels testing and design progressed in parallel with refining the scoring display and making hundreds of other visual and UX enhancements. With our trait visualizations, levels design and scoring mechanism solved, we felt we had achieved something that was both subtle and significant: People who grasped the underlying puzzle dynamics were quite literally using their brains in a way that mimics a core methodology of genetic science. This seemed to hit at the essence of experiential learning.

Muenster launches, Bill Nye approves

The Ralph's Killer Muenster iPad game launched at the 2013 GET (Genomics, Environments and Traits) conference, coinciding with the anniversary of Watson and Crick's seminal paper describing the structure of DNA. At the conference, Bill Nye the Science Guy, a long-time advocate of a science literate society, played the game, and loved it. This made our day. The app also caught Apple's attention, and was listed as a new and noteworthy Education app in the App Store.

To further raise awareness around the game, we created a Ralph's Killer Muenster brand, including a visual identity, packaging, website, Twitter, game trailer, and food truck—all mobilized by Ralph to push the only tool that could save the city (and his reputation) and allow him to lift the health code violations that kept him from producing and distributing cheese. Ralph’s food truck, sent throughout San Francisco, distributed grilled muenster cheese sandwiches.

What we learned

After the launch festivities, our team took a step back to consider what we had learned. Here's the take-away:

• Set constraints to help make a hard problem more approachable. Our self-imposed constraint that the game needed to rely on a scientific mechanism helped us narrow in on phylogenetic trees and maximum parsimony as our core concepts.

• A good story goes a long way. We spent significant time concocting Ralph's story, and getting the tone and art direction down in order to engage people. We want them to stick around for the more mentally taxing interactions later down the line.

• Find the right tool for the right job. We used a variety of prototyping and user testing methods and environments, rather than trying to find or force an all-in-one. Each tool elicited learnings unique to them.

1953 was a good year for science and technology. The polio vaccine was developed, the first open heart surgery performed, and color TVs hit the store shelves. It was also the year Watson and Crick revealed one of the most important discoveries of the 20th century: the double-helix structure of DNA.

David Kelley, IDEO founder and Stanford d.school creator, and his brother Tom Kelley, IDEO partner and the author of the best-selling The Art of Innovation, have written a powerful and compelling book on unleashing the creativity that lies within each and every one of us.

WATCH: David Kelley's TED Talk: How to build your creative confidence.

Too often, companies and individuals assume that creativity and innovation are the domain of the “creative types.” But two of the leading experts in innovation, design, and creativity on the planet, David and Tom Kelley, show us that everyone is creative.

In an incredibly entertaining and inspiring narrative that draws on countless stories from their work at IDEO and with many of the world’s top companies, David and Tom Kelley identify the principles and strategies that will allow us to tap into our creative potential in our work and personal lives, and innovatively approach and solve problems. It is a book that will help each of us be more productive and successful in our lives and in our careers.

Learn more at CreativeConfidence.com.

Purchase

Know someone who might love this book? Here are some options for purchasing Creative Confidence (Crown Business, 2013):

• Order from Bookshop.org

When we were asked to whip up a special brew this July for a big Creative Confidence book-preview event featuring David Kelley, one of IDEO’s founders, and his brother, best-selling author Tom Kelley, we knew we had to kick things up a notch.

Challenge #1: Two guests of honor called for not one brew, but two! We heard Tom enjoys light, Japanese-style beers and that David doesn’t really drink, so we decided to make a Belgian-style wit for Tom and sparkling organic lemonade for David and then mix them together to create a shandy, a refreshing summer drink.

Challenge #2: Now that we had two beverages, we needed to come up with a unique way to dispense them. Luckily, we like tough build challenges with tight deadlines even more than we like beer. A few shop hours here and there between projects, and before we knew it, we said “cheers” to the Mix Master 2000 Shandy Machine!

Introducing the Mix Master 2000

How it works

The Mix Master 2000 Shandy Machine’s look was inspired by the retro-futuristic steampunk movement.

The machine sits on top of a standard, top-loading freezer replumbed to hold two kegs (one containing wit, the other sparkling organic lemonade).

Thirsty partygoers begin by turning the large hand crank on the front to select their preferred beer-to-lemonade ratio (from 0–100%). When the analog meter on top points to the desired proportions, they flip a missile switch to open the valves. The two glass vessels on either side of the machine fill with beer and lemonade, respectively, then send the home-brewed concoctions into their waiting pint via a dispensing tube.

Beer recipe

We wanted to brew a beer that would pair well with lemonade, so we decided on a nice, light, citrus-wheat ale. The goal: around 5% ABV, or alcohol by volume. We used 2-row pale as our main grain along with wheat and wheat malt with a bit of coriander, chamomile, and orange peel. You can find the complete recipe on Brewtoad.

Lemonade recipe

Making homemade lemonade is pretty straightforward. It only has three ingredients: lemon juice, sugar, and water. Batch-processing 10 gallons of the stuff, however, is a bit trickier, especially when you don’t have an electric juicer. In our case, we landed on a ratio of 1:1:8 (1 part lemon juice, 1 part sugar, 8 parts water), and ended up using 160 lemons, 2.5 gallons of simple syrup, and several man-hours of squeezing time. Yikes.

Early testing

After we figured out what we wanted our shandy machine to do, we found some glass vessels lying around the shop.

They looked straight out of a science lab, which was cool, but we thought we’d have some foaming issues because of their small openings. We hooked up a hose from the tap in our kegerator and tried filling them with beer. Sure enough, the beer started foaming immediately and it took several minutes to drain using gravity. Not good if you want a proper pour...

We needed to do something about the foaming issue in order to make this thing usable more than once. We did some experimenting and learned several things:

• There couldn’t be any kinks in the tubing.
• A colder vessel worked best.
• The first pour was really foamy, but subsequent pours were better.
• Filling the glass from the bottom via a tube prevented overflow and allowed any foam that did bubble up to dissipate quickly.
• Adding some back pressure to the vessel made the biggest difference in preventing foam. (To give you an idea of the really rough type of prototyping we love, we used the finger of a rubber glove to make a makeshift balloon on top of the vessel.)

Architecture

The basic plumbing layout of the system is pretty simple. We have three-way ball valves that direct flow from the keg to the vessel, from the vessel to the dispenser tube, or block flow entirely.

To control the valves, we 3D-printed some gears to fit onto the lever controls. To drive the valves, we fitted stepper motors with smaller, 3D-printed gears.

Inputs

For the main shandy mixture-control system, we settled on a large hand crank.

We machined a shaft and attached an encoder to the end. We added some detents to the wheel to make sure the crank had a nice hand-feel and gave solid feedback so people could precisely dial in their desired mixture ratio (the detent mechanism is equivalent to putting a baseball card in the spokes of a bike tire).

We used a 3D-printed gear and flexible plastic leaf to engage the gear. We had to play around with some adhesive foam in order to damp the vibrations and get just the right sound and feel we were looking for. We added a covered, mission control-style toggle switch to start the cycle and a cancel button to round out the inputs.

Feedback

The main source of feedback on the machine is the large analog meter on the top of the machine. We searched online in vain for a large meter that would fit our steampunk style, have an appropriate measuring range, and could be controlled by Arduino. In the end, we found an old automotive meter that measured voltage from 0-16v.

We replaced the scale with one designed by our colleague Joe Graceffa and added a custom housing around it.

When we were testing the Mix Master 2000, we found ourselves staring at the Arduino serial output a lot to figure out where the machine was in its cycle. To make this easier, we added a small OLED display with an onboard SD card slot. Simple serial commands trigger bitmap images that signal Startup, Ready State, Beer Filling, Lemonade Filling, Pouring, and Error State.

Electrical layout

An Arduino Mega controls the shandy machine. This diagram shows how all of the components are connected:

To drive the meter, we needed to boost the 0-5v PWM output of the Arduino Mega to 0-16v. We built a simple, non-inverting amplifier circuit to increase the voltage. A fine-adjustment potentiometer allowed us to fine-tune the maximum voltage and made the meter read full scale.

Code

When the Mix Master 2000 is first powered on, we can’t be sure that the valves are in the correct position. Each motor is stalled against the valve hard stop to establish a home position (the valve hard stop is in the dispense position so there’s no risk of keg leakage). Once the machine’s ready, the crank encoder state is polled and the meter PWM is updated to reflect changes in the shandy-mixture percentage. As soon as the start switch is thrown, the pour cycle begins. During our early testing, we figured out how long it would take to fill a glass with each liquid (the times turned out to be different because of varying carbonation levels). The parameters for beer and lemonade fill times are used to calculate the on times for both valves using the selected shandy ratio.

The cycle sequence starts by opening the beer valve and filling the beer vessel for a predetermined amount of time. When the beer valve closes, the lemonade valve opens for a predetermined amount of time. Finally, both valves move to the dispense position to allow liquid to flow from the two vessels and into the person’s glass. A built-in wait time prevents the start of another cycle, ensuring all the liquid is dispensed.

If necessary, a cancel button throws an interrupt, immediately moving both valves to the safe home position and halting program execution until the Arduino reset button is pressed.

The final touches: steampunking & aging

We’re big fans of steampunk, so from the beginning, we knew we wanted the Mix Master 2000 to look quasi-Victorian. First, we used as much copper and brass as possible, then, drawing on John’s background as a Hollywood set designer, we “antiqued” it using various scenic techniques.

We started by stripping everything off the main body of the machine and painting it all silver. After that dried, we sprayed it again with black paint. While that was drying, we took Scotchbrite pads and scratched the corners, edges, and anywhere else we thought needed a little character. After the black paint layer dried completely, we started to reattach all the other pieces. We painted them copper or brass and scratched them up here and there to add wear and tear.

Once the whole machine was reassembled, we decided it should look a bit dirtier. To do this, we mixed different brown-toned acrylic paints with denatured alcohol. We brushed this onto key places like the corners of the motors so it looked like dirt had accumulated and it was streaked with rain (we wiped off the paint before it dried so the effect didn’t look too heavy handed). For sanitation purposes, we didn’t paint the drain tray or the stainless tubes that dispense the shandy.

What’s next

We think the Mix Master 2000’s pretty cool as-is, but there’s always room for improvement. One issue we’d like to address is foaming. The balloon we added on top of the beer vessel helped, but pouring a lot of shandies in succession caused major foam build up. Increasing the amount of back pressure in the vessel could improve this situation, so we’re experimenting with adjustable pressure-relief valves. Coupled with the relief valve, a low-pressure aquarium pump could help to push out the foam more quickly, avoiding a buildup.

While we’re using the Mix Master 2000 for shandies at the moment, it really could be used for any number of two-part drinks: Black & Tans, mixed drinks, or custom non-alcoholic concoctions are all ideas we’re toying around with. As beer geeks, we’re particularly keen to brew two similar beers, one with a bland base and another that has a lot of hops so we can all dial up the perfect hoppy pour.

Parts List

• Main housing — ?” ABS
• Ball valves — McMaster # 4757K52
• Valve gears — FDM
• Valve housing — FDM
• Crank — McMaster #6020K35
• Stepper motors — Lulzbot #817752011303
• Stepper drivers — Sparkfun #ROB-11699
• Arduino Mega
• Display — 4D systems 128x128 Sparkfun #LCD-11377
• Power supply — 12V 5A, 5V 12A
• Meter — salvaged autometer 16v range
• Glass vessels — found in shop
• Glass holders — FDM
• Meter housing — Laser cut acrylic
• Start switch — Sparkfun #COM-11310

We couldn’t have made the Mix Master 2000 without the help of Joe Graceffa’s graphic design skills, Aaron Ferber’s awesome lemonade-making abilities, and Momo Miyazaki's amazing video. This post was co-written with John Grimley.

The creators of the Mix Master 2000, Chris Gold and John Grimley.

Here at IDEO Chicago, we like beer. A lot. And we don’t just love drinking the stuff, we like brewing it, too. Our ChIDEO Brew Crew started about two years ago and since that time, we’ve made more than 60 gallons, mostly for studio events like Rocktoberfest or St. Paddy’s Day, but sometimes just because it’s Tuesday and we feel like it. We even have a customized kegerator in our kitchen to showcase our drafts.

Perhaps one of the most iconic objects Bill designed was the GRiD Compass, the world's first laptop computer. Bill's design was the original clamshell design that all current laptops have descended from. We wondered if we could use a GRiD as a way to collect stories about Bill from around the office.

The result is this GRiD Laptop that has been modified to house a Galaxy Tab. It renders everything in orange and black similar to the original GRiD, boasts a working keyboard, and can be plugged in to charge at the base behind the original door that housed the ports.

We are using this laptop as a way to add content to billmoggridge.com which has been created to honor him by sharing our favorite moments, Moggridge-isms, photos, videos, songs, and more.

I hope this puts a smile on your face, just as Bill has done for so many others during his lifetime.

As per usual, I tried to document and share all the details of the build process for others to learn from. Click through for the full details of what went into this build:

Parts:

• Broken GRiD 1720 from Ebay
• Refurbished Samsung Galaxy Tab 8.9 w/ dock and keyboard

Before we start taking things apart, look at this! Things may not have changed as much as we think...

Taking apart the GRiD:

The Display

I wanted to have the charger on the base of the computer and not in the screen. For that we would need to make an extension cable that will work like the original cable that connected the screen. Luckily I have the dock and the keyboard dock to hack. I end up using both.

Here is the dock taken apart:

All we need is this part. This will connect to the bottom of the tablet:

This is the part inside the keyboard dock. I use this as the port to glue into the base of the laptop:

First I de-soldered the connector that originally would have plugged into the tablet. Then I connected the dock part to this keyboard part. Now I can use the multimeter in conductivity mode to probe the connections to learn which pad on the keyboard part will need to go to which pad on the dock part:

Then I (very carefully) soldered everything up with an ample length of cable to make my extension cable:

Once I verify the connections are sound, I blob on some 5 minute epoxy to lock everything up so it won't break later.

I couldn't have asked for better luck on fitting this in there! This is the bottom of the connector touching the base of the screen housing:

Lastly, there was no way to wake up the tablet once I put it in the housing, so I put a bolt in the lathe and turned a button that sits in the casing and allows you to press the button from the outside:

Lastly, I had to cut a hole in the display window so you can touch the screen of the tablet. I tried doing this with an x-acto and failed miserably. Luckily, our model-maker extraordinaire, John Grimley, came to the rescue and laser-cut / backpainted a replacement bezel. Thanks!

The Keyboard

Now on to the keyboard. I used a bluetooth keyboard from Motorola. The Samsung one that came with the tablet was too small. I was pretty lucky to find one with almost the exact size of the original GRiD keyboard:

I took all the keys off the GRiD and sanded them down so I could glue them flush to the bluetooth keyboard:

I used hot glue, a steady hand, and a lot of patience:

Now we have a proper keyboard, we need to wire it up. I wired the pairing button to the original power button of the GRiD because you have to press the pair button every time you power on. One reason I made that cable using the keyboard dock circuit board earlier is because the board breaks out power and ground which I can wire to power the bluetooth keyboard. This way there are no batteries to replace.

The Bluetooth Board:

Wired onto the keyboard dock:

Now everything is wired together, so I just place the connector in the original slot for the parallel port:

The Software:

This was actually the most difficult part to figure out. I wanted to have the display be yellow-orange on black like the original GRiD. I started poking around on the Android XDA-developers forum to dig up information. I won't go through all the steps in detail, but after trying versions of Android Ice Cream Sandwich, Jelly Bean, Cyanogen Mod, etc. etc. I found that I had to re-install Android Honeycomb (which was on there in the first place!) and install Chainfire 3D:

This app calls itself “an intermediary OpenGL Driver“ so it sits in the middle and can mess with commands going to the GPU. This requires a rooted device. There's a guy on YouTube who does an awesome walkthrough on how to root a Galaxy Tab 8.9. If you are looking to do something similar.

Chainfire 3D has a “Night Mode“ that allows you to mess with which colors function and to what degree:

However, it still wasn't changing the color! It would change only during screen transitions when there was some sort GPU task happening. I decided to try some hacks to force the GPU to constantly be running letting Chainfire have the ability to intercept things. I had seen some other “screen tinting“ apps that on their own didn't accomplish what I wanted, but added a level of something going on so Chainfire could do it's job. The one I used is called “Screen Adjust.“

Before:

After!

The Website

While I was working on the GRiD, IDEOers Arjun Mehta and Katie Clark—along with several others including Lance Birtcil, Ben Booth, Francis Tseng, Ivy Hu, Danny Stillion, Tom Hardin and Tim Brown—were putting together the tribute website that the laptop was built to access: billmoggridge.com.

It's really beautifully done, so go check it out to see what kinds of fantastic stories have been shared.

With the passing of IDEO co-founder Bill Moggridge, we have been reflecting on the ways he has influenced our lives and made the world a better place. Bill has had an enormous impact on the field of interaction design and professed the importance of making interactions delightful.

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.

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