Nauto, a startup in the automotive industry that’s building a system to help make driving safer and smarter, approached IDEO to collaborate on the design of their latest device. It includes a proprietary dual-camera system that can be directly installed in just about any vehicle to enable safety features. Through real-time data analysis, high-definition recording, and LTE connectivity, Nauto’s device records and analyzes activity inside and outside the car, and automatically uploads information to a smart cloud.

The device can detect if drivers are distracted based on their eye and head movements, risky maneuvers such as tailgating or swerving, and dangerous environmental conditions such as unexpected obstacles. In these scenarios, the product alerts the driver through audio feedback inside the vehicle.

Over time, the data collected by Nauto reveals bigger insights and trends in driving behavior, ranging from causes of collisions to patterns in driver distraction. These insights are stored in a secure cloud platform and made accessible to both drivers and fleet managers. Drivers can benefit from Nauto’s VERA score—personalized feedback based on their driving performance—and fleet managers can gain access to a complete picture of how each of their drivers are performing across locations. Through these data-driven insights, Nauto gives drivers and fleet managers the tools to stay safe on the road.

To help launch Nauto’s device, IDEO prototyped several iterations of the product’s housing, cabling, and ergonomics, resulting in a clean aesthetic and an easy installation process for users. The engineering team also prioritized materials that would protect against extreme temperatures and sunlight exposure. Most importantly, IDEO helped design a camera device that can be seamlessly integrated into almost any model of any vehicle, greatly expanding its potential in the market.

Nauto’s latest system began rolling out to commercial fleets and strategic OEM and Insurance partners in late 2016.

Photos by Nauto.

Most people are used to watching their favorite shows whenever and wherever they want these days. But 10 years ago, that wasn’t the case. Far ahead of the curve, HBO realized the potential for carving out its own audience, and created one of the first original on-demand offerings that allowed viewers to cut the cord from cable and satellite providers. HBO came to IDEO for help in navigating the future of its audience experience that would be distinguished from cable, and would put full control in the hands of the viewer.

With special emphasis on HBO’s Video On Demand offering, IDEO began early-phase research to explore people’s experience with the media brand and found that it centered largely on the viewing of HBO shows, the most critical part of the media experience. But other important media-related activities—learning about new shows, planning to watch new shows, creating the right viewing environment, saving and sharing viewing experiences—were either underserved or controlled by HBO’s cable and satellite partners. IDEO concluded that HBO’s challenge would be to develop a media service that holistically addressed the media consumer’s entire journey and allowed subscribers to experience HBO wherever and whenever they wanted.

To demonstrate the value of the entire media consumption journey, IDEO created a comprehensive product development and user experience vision. This vision was delivered in the form of an immersive environment, built on-site at HBO, which conveyed key customer values and behaviors and presented a roadmap for building the appropriate products and services. Included in this roadmap were future scenarios and tools that invited prototyping and exploration.

"The collaboration was foundational for us, serving as our guidepost for creating more personalized on-demand and online viewer experiences. This early work influenced what would become our streaming presence—from categorization to how the products rolled out—and ultimately led us to design the next generation of user-inspired products for a more highly engaged audience," said Bernadette Aulestia, Executive Vice President of Global Distribution at HBO.

In the 10 years since the original collaboration with IDEO, HBO has pioneered the path forward for media brands by setting the standard for a world-class array of content and accompanying viewer experience model.

While the designs of most cutting tools have evolved significantly over the years, multi-tools have remained largely the same. Recognizing this gap, SOG, an established leader in the specialty knife industry, collaborated with IDEO to identify new opportunities for innovation in the multi-tool space. The teams specifically aimed to expand SOG’s offerings into a more general lifestyle category and position them as adaptable tools for people’s everyday needs.

IDEO's research and industrial design work resulted in a family of four new multi-tools known as Baton. A sleek, black, minimal design ties together the complete set of tools, whose features vary to include bottle-openers, flashlights, scissors, pens, and pliers.

Each multi-tool’s range of capabilities, combined with its slim, compact structure that looks like a pen, makes it a travel-friendly companion for the office or the great outdoors. And its intuitive design makes it easy to use for anyone, regardless of their experience with multi-tools.

SOG’s new family of multi-tools launched in January 2017.

Every year, millions of students attend career colleges with hopes of landing jobs after graduation, but many end up unemployed and in debt, evidence of a significant disconnect between the goals of the students, educators, and institutions. Administrators are tasked with getting students in the door, but not getting them to graduation and students are focused on getting a degree to secure their future employment, while employers are looking for graduates who have professional skills beyond their new degrees.

In an effort to change this failing model, the ECMC Foundation engaged IDEO to help design a radical new vision for the future of career colleges. IDEO and the ECMC Foundation sought to develop a vision that could be used as a benchmark for the sector, showcasing a student-centered educational experience with a business model that aligns students, employers, and institutions as partners in advancement.

At the heart of the student experience is extended support along the learning journey, from path-finding and job placement to ongoing career support for alumni, helping students mindfully navigate their education from matriculation through employment.

A key insight on the employer side was the need to prioritize the parallel development of students’ soft skills—like collaboration and communication styles—and hard skills, ensuring graduates are not only properly trained in the unique skills of their chosen career path, but also prepared to adapt to professional environments.

Institutional accountability became a core factor in the vision, directly linking the college system’s success to the student experience: as job placement improves, so do the school’s earnings and future enrollment rates. The final result is a student-centered educational experience and business model that aligns students and schools as true partners in a better life.

Key elements of IDEO’s recommendations are being implemented as pilot projects at Zenith Education Group—a nonprofit provider of career school training, funded by the ECMC Foundation.

Many students have the motivation to pursue higher education, but are dealing with external pressures and realities that make completion challenging.

As it happened, our trip coincided with Simca’s annual cocktail party, a magnificent affair. Surrounded by strange people speaking a strange language, I focused on eating. I had my hands and my mouth full, which is why I didn’t notice when an unspeakably tall older woman joined me at the sprawling buffet. Reaching across the table to pluck a wrinkly black olive from a dish, she looked down at me kindly and said, Bon soir. It was Julia Child.

It wasn’t until after college that Julia and Simca came back into my life. My mom gave me their cookbooks as a graduation present. Living on my own for the first time, I was starting to learn how to cook—mostly to impress girls. I would peruse their books for recipe ideas and would make regular calls to my mom to explain the “why” behind a recipe. We’d talk endlessly about converting from fresh to dry herbs, how to beat egg whites into stiff white peaks, and how to make pie dough, especially for apple pie.

Growing up, my mom’s apple pies were identical year to year. They were massive, doubled-crusted affairs stuffed with at least four pounds of Granny Smith apples. And that’s exactly how I made my apple pies, too—at first.

Fast forward a decade. I was living in Bucktown, a neighborhood on Chicago’s Northwest Side, with my now wife and our two young daughters. (The “cooking to impress girls” thing worked.) We were hosting our first Thanksgiving. I had discovered a new way of forming an apple pie by folding over the edges of the pastry to keep the apples in. When I presented it to our guests I said, “Now I can make an apple pie even if I don’t have a pie plate!” After recovering from laughter, they insisted I enter the Bucktown Apple Pie Contest. I thought it was the wine talking. But in 2011, and dozens of family-pleasing pies later, I thought, “Why not?”

The Bucktown Apple Pie Contest is the largest apple pie contest in the country. It’s held at the Holstein Park Field House and features local pastry celebrities like the owners of Hoosier Mama Pie Company and Tipsy Cakes who judge over 150 eager entries.

The two Field House gyms were filled with tables loaded down with pies. In the auditorium, a honky tonk band belted out tunes. I fought my way through the crowd and quickly scanned the list on the door with the semi-finalists. Not me. Oh! But, there's a list of finalists! Also, not me. Merde.

I felt like a loser. (Technically, I was a loser.) "Those were great pies," I thought. "My best possible pies..." Or were they?

When the 2012 contest rolled around, I was determined to make the Best. Goddamn. Pie. Period. It was time to break my recipe down.

I dug deep into my primary sources. Simca was an intuitive cook, confident in her methods. She was always trying new things, whereas Julia was more concerned about perfecting. She tested and re-tested her recipes, trying and tracking different techniques. I needed both Simca’s confidence to change my recipe and Julia’s discipline to learn. And I needed a hotline to my mom who has cooked everything under the sun.

After consulting with my mom, I said, “Screw the vegetarians!” and went back to lard. The crust got richer and flakier. I suspected my mom’s Granny Smith’s, while tried and true, weren’t artisanal enough, so I tried Northern Spy and Cox’s Red Pippin, which has a great name but dissolves in cooking. A pastry-chef friend recommended combining Fuji and Granny Smith apples, a thrill because it combined my favorite eating and cooking apples.

I went “off-recipe” and doubled the sugar in the pastry. Too sweet on its own perhaps, but not when paired with the tart apples and lemon of the pie. The contest demanded a double-crust, but I thought lattice tops were mundane, so my wife researched alternatives, which led to me devising a method of cutting apple-leaf shapes with a mezzaluna and trying three different knives before hitting on the perfect leaf-veining technique. When the dough leaves browned unevenly, a friend suggested glazing them individually before assembling. I taught my daughters how to peel apples in one strip and even experimented with prettier ways to core the apples

My wife described my obsession as the pursuit of the Platonic Ideal of Apple Pie.

I made pies every week for the month before the contest. While I was crazily dissecting the look, taste, and mouth feel of my pies, my family was blissfully happy. After all, every Sunday, they got pie.

The day of the contest came. It was a Sunday in October, threatening rain. I put two pies in a basket and headed to the Holstein Park Fieldhouse. The place was a madhouse. The two gyms were filled with tables loaded down with pies. In the auditorium, a honky tonk band belted out tunes.

After the judging, I fought my way through the crowd and quickly scanned the list on the door with the semi-finalists. My name was nowhere in sight. “Really?!? After all that?!?” I thought. But wait! My pies were on the Finalists’ table, and while there were some delicious looking entries, my breath caught when I noticed more of MY pie had been eaten by the judges than any of the others.

Suddenly, the honky tonk band stopped playing and they began the announcements. My eyes scanned the big board with gloriously gaudy ribbons. The judges started to announce the winners. I stood still, unable to speak or move. They announced third place… Then second place… And then… Time stopped and I heard my name coming over the loud speakers. I stumbled up on stage and a judge pinned a blue ribbon with a little silver pie on it on my shirt.

There was noise and camera flashes and my girls were jumping up and down. There was even a TV crew with giant cameras and flood lights. Still shaking with excitement, I stumbled into the thick crowd. A young woman came up to me and asked: “Butter or lard?!” “Both,” I whispered, and she gasped with delight.

My family and I floated downstairs and across the park to our car giggling and hugging and talking about pie. The first person I called on our way home was my mom. She was so happy and proud. “Which recipe did you use?” she asked.

And I thought back to that warm August night in France, when I first met Simca and Julia, and all the subsequent hours pouring over their recipes. My pursuit of the Platonic Ideal of Apple Pie felt serious, but somehow new, which Simca would approve of. While my relentless testing of techniques was something Julia would have liked.

And then I remembered all the beautiful food my mom made for our family and her patient instructions over the phone as I slowly learned how to cook for myself.

And in that moment I felt like I had arrived. “Which recipe did you use?” my mother asked again.

“My own,” I said, smiling.

Murphy MacDonald’s Award-Winning Rustic Apple Pie Recipe

Crust

1½ c unbleached all-purpose flour
½ c unbleached cake flour
¼ t salt
4T sugar
6 oz butter (lightly salted), chilled, and diced
2 oz lard, chilled
½ c ice water

1. Place dry ingredients and diced butter in a food processor bowl fitted with the steel knife. Pulse 5-6 times to break up the butter.
2. Add the lard, turn on the machine, immediately and steadily pour in the ice water, and turn off the machine. Pulse 2-3 times. The dough should look like small lumps. Do not run the machine so long that the dough masses on the blade.
3. Turn the mostly crumb dough onto a lightly floured surface and press it into a single mass. For the final blending, use the heel of your hand to smear egg-sized clumps of the dough crumbs together. Work through the dough until all crumbs are combined.
4. Divide the dough into two unequal portions, approximately 3:2. Form the dough into discs, wrap in plastic, and refrigerate up to 3 hours or overnight.

Filling

2 lb apples, mix of Fuji and Granny Smith
1T lemon juice
¼ c sugar
2 oz butter
1/8 t cinnamon
pinch nutmeg

1. Peel, core, and slice the apples ~¼”+ thick.
2. Toss apples, lemon, and sugar together.
3. Melt the butter in a large skillet over medium heat, add the apples, and cook for 10 minutes, stirring frequently. After 5 minutes, add the cinnamon and nutmeg and stir to combine.
4. After 10 minutes, remove from heat and let rest.

Assembly

Glaze made by beating droplets of water into 1 egg white

1. Preheat the oven to 375˚ F.
2. Remove the smaller of the two pastry discs and roll out to 1/8” thickness.
3. Using a mezzaluna or other round-blade knife, cut the dough into 16-24 apple leaves (elongated football shapes) and set them on a wax-paper lined baking sheet.
4. Use the back of a paring knife blade to score veins into the leaves. Refrigerate the leaves while you prepare the glaze and roll out the bottom crust.
5. Roll out the larger of the two pastry discs to 1/8” thickness, about 12” diameter or more. Use a pizza cutter to trim and clean up the edge of the rolled-out pastry. Transfer the round to a parchment-paper-lined baking sheet.
6. Remove the leaves from the fridge and brush them with the egg white glaze.
7. Spoon the apples (and caramel-y sauce) onto the pastry round, heaping them up to leave a 2” border all around the edge of the pastry.
8. Turn up the edge of the pastry all around, lightly pinching folds together to enclose the apples.
9. Beginning in the center, arrange leaves radiating out to cover the top surface of the apples.
10. Sprinkle with cinnamon sugar and bake for 35 minutes.

Serve warm if possible, with vanilla ice cream.

Recipe copyright 2013 Murphy MacDonald.

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I distinctly remember when my obsession with food began. It was August 1984 and I was 14. My family and I were traveling across Europe. In France, we stopped in Provence to visit my mom’s friend, Simone Beck, also known as Simca. Simca had written Mastering the Art of French Cooking with Julia Child.

I took this picture in Lima, Perú. A delivery guy used the cardboard to protect his motorcycle from the rain while picking up orders in the store.

Lima is often gray and cloudy: the locals refer to this weather as “panza de burro" — the "underbelly of the donkey.” However it doesn’t actually rain much. The lack of rain is something of a joke (for example, there’s a theatre play called "Nunca llueve en Lima” — “It never rains in Lima"). So the need to cover your possessions from rain is one that only comes up infrequently.

The owner of this motorcycle was able to improvize, in part because the attitude towards trash is somewhat different. In the West, discarded objects tend to be hidden away and inaccessible. Here, there are more shades of gray: trash is more available and may find more utility before it's discarded for the last time.

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 the invention of new products, services, and experiences.

Here’s how we went from a hacked-together prototype to a popular game.

Idea Seed

Our initial inspiration for the game came from “The Matrix.” There’s a scene in the beginning of the movie where the hero, Neo, gets a call from a mysterious stranger. “They're coming for you, Neo, and I don't know what they're going to do.” It’s Morpheus, who warns Neo that there are dangerous agents who are hunting him down. He then gives Neo directions to help him escape.

Our game works the same way. Player one runs around in a 3D VR maze, and player two sees a map and types out instructions for player one to follow. By making the communication of asymmetric experiences our key game mechanic, people can enjoy the experience together. This is important because VR is an immersive medium, but it can be socially isolating.

Refining the Game

Since each of the players sees a different screen (one in 3D and one in 2D), we tried my best to play to the strengths of each medium. VR is great at immersive and suspenseful experiences, so the VR player is the player of action, sneaking around to get treasure and running like hell to escape from enemy agents. A screen is great at showing flat data, and the player who sees it has access to a keyboard. So the hacker player sees a very detailed map and types to control everything.

Cooperation is critical to this game. We designed it be impossible to win by yourself—unless you cheat by looking at both screens. The VR player determines where the game goes, but there are agents around the corner that only the hacker can see, as well as hidden trap doors and lasers. On the screen below, the VR player is blocked by a door. But there’s a password that they can give the hacker player to unlock it.

There’s also a mechanic for the VR player to scan enemies and gather “bits,” the diamond-looking things, which are used to purchase bonus abilities like freezing or blinding enemies. This spices things up, so they have more agency in the game.

Design Tools

Part of designing something well is also designing how you work. With a team of four, we didn’t have the time to carefully craft every aspect of the game. So Mark, the developer, and I made a modular level building kit in Unity that allows people to build a level in just a few minutes. Everyone on the team could pitch in to create VR content. We’re in the process of preparing these tools for Steam Workshop, a website that allows developers to release game creation tools to the greater gaming community.

Our art pipeline got pretty crazy. I made the 2D assets in Illustrator so that I could avoid fussing with the resolution. For 3D assets, I made pixel sketches in Photoshop, turned them into 3D voxel art using Qubicle, played with the textures in Maya, and transferred models to Unity using Picavoxel. Finally, I set up prefabs in Unity so that I could easily swap the art in and out. The process allowed me to quickly pump out consistent and professional art, and instantly test it out in VR—a huge help for a solo artist.

Key Tips for Would-Be VR Designers
This process wasn’t always easy. Here are some important things to keep in mind as you work on your own games.

1. VR is not 2D. Or even 3D. I’ve done a ton of 2D and 3D design before, but VR is nothing like it. I had to develop entirely new design processes, and it was critical to test the game over and over again inside VR to get things just right.
2. Details matter, even for a baseline experience. If 2D UI just a little bit off, it looks funny. Misplace VR UI and people throw up. Getting everything right—from careful sizing of the environment to UI placement to 3D audio cues—is critical.
3. Offer alternative control schemes. This was a tough lesson. When we initially launched, we had a firestorm of complaints because we only had the default control scheme. We had to scramble to create a snap turn comfort mode and a teleportation mode.
4. Test in VR. Some of our biggest missteps happened because we had ideas that we didn’t test quickly enough.I foolishly made the controls more complicated than they needed to be. Since players have VR headsets covering their eyes, we had to constantly remind them about controller locations because they couldn’t see them.
5. Allow the audience to engage. VR can become an amazing social experience when you let your players share the game.

Launching the Game
We’re pretty thrilled with we managed to put together. Here’s a quick video to show what it feels like in action.

In June, we finally launched the game on the Oculus Store and Steam. Over the past 5 months, we’ve sold more than 2300 units. We’re the fourth highest ranked game on the Oculus store. Give it a try—I’d love to hear what you think.

Try it on Steam / Try it on Oculus

Around the time Oculus Rift completed its Kickstarter, I brought my virtual reality headset to a weekend hackathon called the Global Game Jam. Over 48 hours, my team and I built a game prototype where one player navigates his way through a maze, while a second player types instructions to him. The prototype was pretty simple—thrown together in 48 hours, after all—but people had a blast playing it. So a few friends and I decided to build it into something bigger. Over the past three years, we’ve worked nights and weekends to create Black Hat Cooperative, a multiplayer stealth game. We just launched this June on Oculus and Steam, and today our game is one of the highest rated experiences on the Oculus Store.

Then, about a year ago, I heard of Wim Hof. Hof holds world records for running barefoot marathons above the Arctic circle, for swimming under solid ice, and for climbing Mt Kilimanjaro in shorts. My small question became an obsession.

At IDEO, we look to extreme users to inspire the things we design, and Wim Hof seemed like the ultimate extreme user. I joined one of his workshops in the Pyrenees, Spain, and met folks from all over the world, who had come to find answers for their mental health, physical health, or athletic performance.

Hof is the cold fairy. He gives you permission to go into the cold, to enjoy it, to seek it. Cold has been his teacher, and breath-work his toolkit. He is happy to share his methods, and create the conditions for others to push their boundaries. Under his guidance, I took a 10 minute ice bath and did not shiver, during or after. I saw many new friends make breakthroughs that week. The cold was teaching us that we were in control and the decider of our own experiences: we could overcome pure pain.

Stanford Neuroscience Professor Andrew Huberman was invited by Hof to join our workshop, and we spoke about how to apply his Method, and about bringing Hof to California.

I began teaching my distillation of the Wim Hof Method to fellow IDEOers in Palo Alto, and to my surprise, over a third of our studio expressed interest in a mini-course. We got ready. We talked about how we stay warm—from shivering, to insulation, to mitochondrial chemical energy. We breathed, and observed the adrenaline-high cortisol-low effects of deep breath cycles with retentions.

Then Wim Hof and Prof. Huberman joined us in person for an afternoon of ice baths and to present their talk, “The Mind Made Visible”. This led to a great discussion on the inner workings of the Hof Method, and about the science behind his approach. Scientists are intrigued by this case of the “extreme user” who can teach his methods to other people and show results immediately—in contrast with a pranayama guru who requires 20 years of study. A groundbreaking study has shown that participants trained in the Method can control their autonomic nervous systems and suppress immune response to an endotoxin injection (the introduction of bacteria, which can trigger many adverse physiological reactions in humans).

The Method involves several minutes of deep inhalation-driven breathing, followed by holding the breath on a full exhalation for as long as is comfortable. Beginners can hold their breath for a remarkable 1- 2 minutes. After extended practice people can reach 4+ minutes. During this process, the blood pH becomes alkaline and prevents you from passing out, while also serving to restore balance in the endocrine and immune systems. At around the 90 second mark, an adrenaline release is triggered. Unlike when adrenaline is pumped out if your life is in peril, low cortisol levels ensure that you remain calm, focused, and able to direct the superhuman power boost.

The cold and breath work go hand-in-hand—the breathing fortifies you for the cold, and the release of cold-shock proteins from sustained ice-water immersion amplifies the effects of the breathing. The practice, Hof says, resets insomnia/jet lag, reduces chronic pain, heads off depression, improves memory, and increases longevity. (Note: the breathing Method should be performed in advance of, not during, cold water immersion).

For me, the Method has been most helpful while mountaineering. By controlling my body's reactions to cold and over-indexing on oxygen, I stay comfortable in extreme conditions and acclimatize more effectively. After meeting Hof, I'm no longer asking, why are we afraid of the cold? But instead, how might we harness the cold to unlock our own potential?

In the New Hampshire winter of 2005, I gave up use of all jackets, sweaters, and warm layers for the season. Crossing between high school campus buildings in a t-shirt during snow and freezing rain, I received appalled looks from my peers and teachers, but felt invigorated and unconstrained. I began asking, why are we afraid of the cold? I later reverted to social norms, and by college, I was a lover of warmth. But the question stayed with me.

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.