Commonwealth Bank of Australia was interested in helping customers and businesses build close connections. They believed the way to do this would be by creating richer interactions around different forms of payment. The bank approached IDEO to explore these opportunities, and the result is a new retail business platform—Pi—and a portable payment device—Albert.

Pi brings a new level of flexibility, functionality, and customization to the face-to-face interaction between a cashier and a customer, improving everything from the process of splitting the bill in a restaurant to helping a guest find more personalized experiences at a hotel.

Insights

In the team’s research in Australia, the UK, and Germany, they found a few key insights that informed the design. First, they saw that an ideal platform should support the full spectrum of human behaviors around payment. Second, platforms can add value by improving the relationships among banks, merchants, and customers. And third, the payment experience should be customized to fit a specific setting, working one way in a luxury boutique and another in a gas station.

IDEO, CBA, and Wincor Nixdorf worked together closely to steward the design of Pi And Albert through product development and implementation, and to gather feedback from merchants during rapid, iterative cycles.

Results

The platform is flexible enough to benefit organizations of all sizes: Larger merchants can incorporate Pi as part of their existing network, while smaller merchants can grow their business using powerful business tools. And customers of all kinds can easily access a variety of payment methods and helpful applications.

Albert offers a large touchscreen that’s intuitive to use, the safety of virtually encrypted PIN entry, and a variety of ways to access data connections. A large battery provides power when retailers are on the go, and a modular housing means that Albert can be used in all kinds of situations. The device is built to handle current card payment methods but can also adapt to how cards might be accepted in the future, and even eliminates the need to swivel a screen from cashier to customer during the payment process.

Forty million Americans became newly eligible for health coverage when the Patient Protection and Affordable Care Act (ACA) was fully implemented in 2014. Some enrolled in health insurance for the first time, while others were able to get better access to affordable health coverage.

In preparation for the millions of applications, states were required to develop ways for people to sign up for health insurance online for plans that were operated by state and federal governments under the ACA. To help public and private agencies to meet the requirements, a coalition of nine national and state-based foundations, led by the California Health Care Foundation (CHCF) developed a digital enrollment prototype, and hired IDEO to lead the consumer research and design effort.

After a yearlong collaborative process, the resulting 300-page design manual and design reference prototype illustrates a customizable approach to public and private health insurance enrollment.

The flexible set of design standards developed for Enroll UX 2014 aims to make online health insurance enrollment simple, intuitive, and easy to navigate at scale.

To encourage PhD candidates to think differently about how they tackle tough science problems, the University of California, San Francisco (UCSF) and IDEO embarked on a fruitful collaboration.

Three PhD candidates were tasked with the following challenge: Cultivate new audiences and uses for a microscope. Drawing inspiration from cell phone microscope CellScope, the trio arrived at a prototype that was less reliant on technology and easily disassembled and reassembled. How? By using the most basic building blocks: Legos.

Made of custom 3-D-printed parts and standard toy building blocks, the LegoScope, which functions as a microscope, can easily snap pieces in and out to hold different components. Both the device and the team-based process are now being used in various other campus projects to change how researchers think about conducting and advancing scientific research.

“The best work in the future is going to be done by teams of people with very different expertise, who know different things and think about things in different ways, who come together to focus on one big problem,” said Keith Yamamoto, vice chancellor of research at UCSF, who led the initiative.

Arye Barnehama and Laura Michelle Berman wanted to take their invention—a headband that measures brain wave activity, focus, and concentration—to the next level. As a part of IDEO’s startup-in-residence program, Barnehama and Berman collaborated with IDEO on the product’s rebranding, hoping to refine and emphasize the product’s promise: When people improve their focus, they feel more mindful, confident, and productive.

With IDEO’s help, the company changed its name from Axio to Melon, delineated their brand, refined its product, developed its user experience, and prepared a Kickstarter campaign that garnered considerable press coverage. The new name, Melon, reflected the friendly, scalable character of the company. The name also suggested the intent of the product—using neuroscience data to inform a personal activity.

To distinguish Melon as a standout in the crowded quantified-self category, IDEO designers made the logo a faceted orb that references the gear-shifting mind, with “Melon” written in a distinctive font born from that same logo. The team went with fruit colors—cantaloupe, honeydew, watermelon—to evoke the sweet, refreshing experience the Melon headband promises.

Together, the Melon and IDEO teams also developed an app that shows increases in concentration after performing certain tasks and features a game in which you “fold” origami through mental focus to hone concentration.

Melon’s new brand strategy and UI set it apart from your typical fitness tracker, engaging the user in an elegant, joyful, and customized experience with every interaction.

Melon: a headband and mobile app to help you measure focus.

The answer is yes, of course. And when companies don’t fix themselves, we feel it in our products and services. The company has designed something—often a digital thing—that fails to give us what we need, and we walk away cursing the air, wondering if the leaders of the company have ever used the service themselves.

But making things that work for humans isn’t easy. We change every five minutes. How can organizations be confident that what works today will work tomorrow? It’s a lot easier to just slap on a Band-Aid and hope it won’t rip off with the first sudden move.

There are vastly different perspectives out there about how to make change happen and stick, and we’re curious about them all, so this fall, we invited five friends who’ve led major transformation projects at their companies to IDEO’s London studio and for an open conversation.

Here are the top 5 takeaways from our Make Change event:

1. Be a curious leader

“The problem I see in a lot of organizations is they have a lot of great tools but the top leaders don’t use them. If you’re not prepared to do what you’re asking everyone else to do, then why should you expect them to? If you want to understand what’s broken in your company, try entering your own expenses.”

—Mike Bracken (Public Digital), the guy who led digital transformation for the UK government (GDS), a model that’s been replicated in Canada, Argentina, Peru, Australia and the U.S. (and he has a letter from Obama to prove it).

If Mike had one piece of advice for making change happen, it would be this: “Go and sit next to a user when they’re using your service or product. I make sure to do six hours of that every month.”

2. Question accepted behaviors

“If you’re in a self-contained moment as an organization, I’d highly recommend that you build an innovation team that sits on the side and role models something really weird and strange, questioning the accepted behaviors. Having a constant dialogue and exchange with other perspectives is what makes companies competitive. But not a team that sits in the ivory tower. Our innovation team has reinvented itself three times in three years according to what the business needs."

—Anne Pascual, VP of Design at Zalando, Europe’s leading online fashion platform, which delivers to 24 million customers and grew its revenue to around €4.5 billion last year.

Anne's advice? “Think big. We tend to be obsessed with the details, but there’s much bigger opportunities out there.”

3. Don't build an innovation lab

“Innovation is far too important to be outsourced. I’m not a believer in gluing an innovation lab onto the side of your organization. If your culture is not innovative, that’s not going to sustain. You’ve got to fix your culture first if you want to be in this for the long term. It’s got to be everyone’s job when they wake up in the morning. And you then have to create the air cover as a leader for that to happen, which is all about creating a no-blame culture. You can’t innovate as fast as we do without sometimes screwing up. We do it regularly, and when we do, we try to learn from it, but we know it just goes with the territory of being a disruptor.”

—Paul Clarke, Chief Technology Officer at Ocado. After a deal with Kruger in May, Ocado’s market cap blew past Marks & Spencer's—a sign of the tectonic shift happening in retail.

Paul's advice would be this: “Tell the truth about what's broken.”

4. Be a DJ

“A good leader is like a DJ—they play the music that makes people move, but they should accept that people will move in different ways and what’s important is that you move to the same rhythm and move forward.”

—Beatriz Lara Bartolomé, former Chief Innovation Officer of BBVA, and EMEA Advisor Director of Globant, a digitally-native technology services company.

To make change happen, Beatriz would advise you to “ask your teams what they think should be improved.”

5. Launch beacon projects

“Launching a product to market in a short period of time is the best organizational change program—you’re going to learn the most about how the company behaves. We call these projects that have a change agenda 'beacons.' Select them for their ability to help you build a new muscle. If you’re not building a new muscle with every project, you’re wasting an opportunity to learn.”

—Luis Cilimingras, IDEO partner and managing director of our London studio. He leads digital transformation and change projects, including starting an innovation studio called La Victoria Lab that creates new products, services, and experiences for Peru’s emerging middle class.

Luis's best advice: “Keep seeking out inspiration. It’s your job to be inspired.”

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Take a behind-the-scenes look at the event.

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People are always looking for ways to improve themselves. But what about companies? Companies are just collections of people, so it makes sense that they’d build up all kinds of bad habits over time. Shouldn’t our organizations be on a self-improvement regimen, continuously trying to fix what’s broken?

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“What's going on there?” asked my colleague Ed, in his usual bouncing demeanor, pointing at my phone propped in its handy, commonly-found, IKEA glassware receptacle.

I was in the last weeks of a project, building out a mobile-first website to showcase our final deliverables. I was going about my usual process, with a minimal set up: designing the UI in Sketch, mirroring the artboards on my phone.

“What? This?” I replied, adjusting the angle of my glass full of iPhone.

“Yeah. I've never seen anyone do that before,” he chimed back.

It dawned on me that this behavior in my design quiver—something I'd been doing since my very first mobile design moment—may not be that common.

Instead of having to stop and pick up my phone every time I need to check my work, I just plop it in a glass, adjust the angle, and check my design’s mobile readiness with a glance.

The adjustability and the “there's probably one lying around” factor of a drinking glass elevates it to a handy design tool that I’ve used throughout my career.

And once you’ve shipped the design, it also makes for a great vessel for a celebratory swally.

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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.

Creativity Challenge #3: Jumpstart an ideation session

Here’s one quick, simple exercise to get creative muscles warmed up. We learned it from David’s mentor, Bob McKim, back when David was a product design student. It’s called Thirty Circles, and you can do it on your own or in a group. The goal is to push people to test their creativity by turning circles into recognizable objects in a very short period of time.

Tool: Thirty Circles Exercise
Participants: Solo or groups of any size
Time: 3 minutes, plus discussion
Supplies: Pen and a piece of paper (per person) with 30 blank circles on it of approximately the same size. (We recommend printing it on an oversized sheet of paper. You can also just ask everyone to draw their own 30 circles on a blank piece of paper.)

Instructions

Step 1: Give each participant one 30 Circles sheet of paper and something to draw with.

Step 2: Turn as many of the blank circles as possible into recognizable objects in three minutes (think clock faces, billiard balls, etc.)

Step 3: Compare results. Look for the quantity or fluency of ideas. How many people filled in ten, fifteen, twenty or more circles? (Typically most people don’t finish.) Next, look for diversity or flexibility in ideas. See if the ideas are derivative (a basketball, a baseball, a volleyball) or distinct (a planet, a cookie, a happy face). Did anyone “break the rules” and combine circles (a snowman or a traffic light)? Were the rules explicit, or just assumed?

Tips from the field

Besides being a great warm-up exercise, Thirty Circles offers a quick lesson about ideation. When you generate ideas, you are balancing two goals: fluency (the speed and quantity of ideas) and flexibility (ideas that are truly different and distinct). We know from experience that it’s easier to have a great idea if you have many to choose from. But if you have a lot of ideas that are just variations on a theme, you might really only have one idea with twenty-nine other versions. When you combine fluency and flexibility, you can generate a rich array of concepts to choose from.

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

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

How could Fintona make their newbies feel comfortable saying, “I don’t know, but I’ll find out?” They began by experimenting on themselves. Their first idea was a goofy one: arm each newbie with a Bat Signal—a flashing red police light that newbies could trigger any time they were stumped to summon help from across the call center.

The first day of the experiment, it was clear that the lights weren't working. Newbies who were already uncomfortable saying, “I don't know,” were even more uncomfortable turning on a flashing emergency light that screamed to the whole floor, “I DON’T KNOW!” When other service agents saw the signal, they just assumed that someone else would jump in and help. The experiment failed.

The team needed to iterate. They thought that maybe each Bat Signal needed a Batmanager—a dedicated leader who could watch the lights and swoop in to save the day. So, the team moved the lights to the managers' offices and asked them to be on the lookout.

That didn't work either. Newbies still felt singled out, and the Batmanagers weren’t at their desks often enough to act as a reliable safety net. Realizing the team needed a private way to call for help, they created a private chat channel—the Bat Chat—where newbies could connect directly with experts from Fintona’s specialized departments.

But the experts didn’t answer any questions. In fact, the only answers that newbies got on the Bat Chat were from other newbies. That gave the team an idea: They would launch the Bat Chat across the entire call center. They figured that veteran agents must know the answer to 80 percent of newbies’ questions, and they might be a safer resource than some stranger in another department.

Finally, success. The Bat Chat took off like crazy. Surprisingly, it wasn’t newbies who first started using the chat, but veteran service agents asking each other questions. As more veteran voices spoke up (or typed up), the newbies started asking their own questions and getting immediate answers.

The Bat Chat was the perfect solution for this team. But, there was no special analysis that they could have done beforehand to figure that out. No market research or benchmarking data would have suggested it. They had to build, fail, iterate, and repeat to find the answer. And once they found it, it didn’t need careful change management to extend it to the rest of Customer Support. It spread by word of mouth, and became a source of pride because the team found their own solution.

Fintona learned some remarkably similar lessons to what Harvard professor Teresa Amabile found in her two-year study of the culture of helping at IDEO: Newbies don’t need to be singled out. They need to see that everyone—even their most successful colleagues—need help sometimes.

This post is an excerpt of a longer article I wrote for Harvard Business Review. Read the full story here.

This article is excerpted from a longer story in Harvard Business Review.

Fintona Financial (not the company’s real name) was growing fast—so fast that their Customer Support call center had tripled in size. They couldn’t recruit fast enough. Many new service agents were pulled out of their two-month training program in as little as two weeks. Eager to look good in front of their bosses, these newbies struggled to answer tricky questions—all too often, they would give a right-sounding answer instead of saying, “I don’t know,” and asking someone for help. This not only triggered inceased call volumes but also began to erode Fintona’s customer satisfaction scores.

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.