How do you lift up the middle class in a developing country?

That was the challenge facing Peruvian entrepreneur Carlos Rodriguez-Pastor, who hired IDEO to build an entire network of schools powered by a progressive new learning model. IDEO’s mandate: to redesign Innova’s entire K–12 learning experience, from the curriculum to the teacher training to the school buildings, with an eye toward expansion and a goal to provide international-quality education at an affordable price—about $100 a month.

Innova Schools is a part of Intercorp, a family of 35 businesses that span everything from banks to retail stores and added schools to its portfolio. In 2010, the company had five existing schools but realized that its existing model could not grow. The shortage of well-trained, high-quality teachers in Peru, combined with rising land costs, meant the schools would need to radically change course to succeed.

To learn about scalable school models around the world, IDEO researchers visited inspirational schools and learning programs, and looked to analogous systems like retail, hospitality, and health care to understand their approaches to scale. Throughout the project, they collaborated with teachers, students, and the Innova Schools team in co-designing the work itself.

Together, Innova Schools and IDEO developed the curriculum, teaching strategies, buildings, operational plans, and underlying financial model to run the network of schools.

"I was blown away by Innova Schools," said Salman Khan, founder of Khan Academy. "It's inspiring to see such an affordable school deliver a quality of education that would rival schools in the richest countries."

The new Innova Schools combine teacher-led, project-based learning in small groups with self-directed time using digital learning tools. Teachers monitor students’ work online and offer personalized guidance. Parents can view their children’s progress online as well.

Dynamic learning environments include community spaces, media labs, rooftop study areas, amphitheaters, and cafés that are optimized for flexibility: furniture on wheels, movable walls, and efficient uses of space to allow for different modes of learning.

An online Teacher Resource Center includes a database of more than 18,000 custom lesson plans based on a progressive new teaching approach. The center helps teachers learn their craft and gives them a chance to connect across the network.

The business model of Innova Schools was developed at the same time as the school experience. Designers leveraged the economies of scale that come from building a network of schools and centralized tools, such as data systems that allow all the schools to learn together.

The project has allowed Innova to open more schools at an affordable cost to families, ultimately giving more of Peru’s youth the chance to compete in the global economy. This comprehensive approach to system design ranks as one of Latin America’s most ambitious privately funded educational projects, and is on track to become the largest private school network in the region. To date, Innova has opened 63 schools in Peru that are serving more than 50,000 students.

A good system design doesn’t end with strategy. The work on Innova Schools also had a huge influence on the company, according to Rodriguez-Pastor. Through the creation of new roles and an aligned set of values, Innova’s central office has become a much more nimble and creative organization. They’re constantly scanning the world for inspiration in how to best educate their students, while building out the new innovations. They realize that design thinking can become an integrated part of their daily management of this growing network of schools.

Western Digital, the leading provider of external digital-storage solutions and a pioneer in the field, and IDEO collaborated on a number of products that produced reliable, secure, high-performance hard drives for personal and professional use and have won numerous design awards.

The projects include:

• MyBook external hard drive: IDEO and Western collaborated to find a new design language for their external hard drive MyBook. In just six months, MyBook became the number-one hard drive in the Americas, and grew US market share by more than 50 percent.
• MyBook II: Looking to regain MyBook’s original number-one position in the hard drive market, IDEO and Western came together again to refresh the original design, finding ways to further differentiate the product and the brand, and winning a 2008 Spark Bronze Award.
• MyPassport: Western and IDEO designed the 320GB, ultra-portable USB-powered hard drive that appeals to the mobile user, which won both the 2008 IDEA Bronze Award from IDSA and BusinessWeek, and the 2009 iF Award.
• MyBook and MyPassport 3.0: Again, IDEO and Western collaborated on bringing the popular MyBook external hard drive to the next level in the hardware, the software, and the packaging. IDEO also created in-store merchandising, the graphics and information featured on product packaging (and the “out-of-box experience”).

The city of San Francisco wanted to help its people become better prepared in case of emergency. While no one feels totally prepared for a natural disaster, people who are most connected within a local network fare better in an emergency.

So the San Francisco Department of Emergency Management (SF DEM) and IDEO teamed up to create SF72, a revolutionary platform that helps to reach people where they are. In times of emergency, the city will need citizens to be self-supporting for 72 hours (or longer) before local services or outside help kicks in. With that in mind, IDEO developed an accessible platform to help people prepare for those 72 hours in simple ways that fit into their daily lives.

The SF72 website helps people with five important tasks: Get connected, gather supplies, watch stories, make a plan, and have access to an updated Google map. SF72’s content is hyperlocal, but IDEO and SF DEM also created an open-source toolkit for cities worldwide. From San Jose to Denver, other locales are using the simple toolkit to create a City72 platform of their own. Most recently, the city of Oakland collaborated with Code for America to develop its own platform. The City72 Toolkit enables SF72’s ethos of social connection for resilience to scale and grow—city by city.

Team Rubicon, formed in 2010 as a response to the devastating earthquake in Haiti, is made up of former military veterans who swoop into help in times of disaster. The organization started with six vets in the US who were eager to transfer their battlefield readiness in to frontline relief efforts, and has grown to more than 28,000 volunteers across the world.

To explore its growing global effort and to shape the future of the organization’s venture, Team Rubicon approached IDEO for help. After an 11-week collaboration with government, military, and veteran groups, a vision for Team Rubicon Global emerged. Inspired by sources as diverse as TED and The Hell’s Angels, the three-tier model consisted of an anchor network to share best practices across the organization and two supporting platforms designed to help countries with varying capacity and needs.

Team Rubicon Global coordinated its first deployment in April 2015, when a quake struck Nepal, sending US and UK teams to double down on the rescue effort. According to Vince Moffit, Team Rubicon USA Incident Commander, that incident alone validated the network effect of IDEO’s work. “We couldn’t have done this without Team Rubicon UK,” he said.

And for the veterans who are part of Team Rubicon, the shared desire to serve—applying skills ideally suited for disaster response—creates a renewed sense of purpose, community, and leadership that helps reintegration to civilian life.

The winding streets in the medieval city fabric, the long lunches with wine followed by a nap, and all the built-in transitional time and spaces choreograph a unique quality and pace of life that defy our usual sense of urgency. The city forces its inhabitants to slow down, creating opportunities for the unplanned to unfold.

It’s this intangible quality that has drawn and inspired generations of artists and scholars, and what motivated my partner and I to apply for fellowships to study the act of wandering in Rome early in 2020. Curious about the truth behind the city’s lore, and believing it’s only possible to study wandering by wandering ourselves, we spent three months thinking not too hard about the things that make a place great for wandering and conducive to moments of serendipity.

Our days of wandering concluded when Rome locked down for the pandemic, and our lives shifted from the physical city to virtual space. Most of us have discovered benefits to this new way of working and living, and many elements are likely to remain. But in the rush to replicate the functional aspect of daily life online, we’ve also lost a bit of the spontaneity and chances of encountering the unexpected. Through this project, we want to champion the irreplaceability of physical spaces, and articulate a few design principles that take us beyond the typical pursuit of productivity and efficiency, and toward making environments that encourage and reward wandering.

1. Meta orientation

Rome is built on seven hills. Each day, we would wander from our apartment at the British School on the eastern edge of the city, up and down a hill, across a river, and up another hill to our studio at the American Academy on the west side. Setting out in the morning, we would often arrive just in time for lunch, and take the whole afternoon getting back just in time for dinner.

Curiously, after only a cursory glance at the map upon arrival, we were able to make the trip every day via constantly evolving routes. In the medieval city, the slight inclination of streets offered a meta sense of direction, allowing us to know roughly which way to go even when venturing into previously unexplored areas. In fact, many streets follow old streams; a local rule-of-thumb for when you’re lost is to pour water on the street and follow it down to the banks of the River Tiber.

The joy of wandering comes from its unpredictability, which is always delicately balanced against the fear of being completely lost. Subtle spatial cues such as the street sloping up or down, or glimpses of a monument when you’re crossing an axial boulevard, can offer a meta sense of orientation while preserving the excitement of choosing different paths to explore.

2. Built-in intermissions

At the risk of perpetuating stereotypes (both about Rome and about designers), our days were often strung together by coffee breaks, whether a quick pick-me-up before an appointment or to while away an afternoon. To our surprise, the same cup of coffee in a Roman cafe has two different prices depending on whether you are drinking it standing at the bar (about one Euro), or sitting down at a table (about six Euros). It’s perhaps the clearest evidence that coffee is not only a drink, but also a duration of time—the cheaper option gets you a short respite standing at the counter, while the more expensive option gets you an afternoon watching passers-by sitting at a street-side table.

The caffeinated intermissions provide in-between time to remember what we have just seen, and anticipate what we are about to see. It shifts our experience from distinctive blocks of activity to a gradated spectrum that fades in and out, creating opportunities for different ideas to overlap. The bitterness and heat of the coffee, pleasurable to sip but difficult to gulp, establishes a minimum amount of time between things, allowing our thoughts to wander without the need to be somewhere.

Perhaps what the physical environment can better offer and should be designed for is the gentle spacing between things: a short walk to lunch, a stroll from home to work, or some distance between the desk and fridge. That’s often when inspiration strikes.

3. Anchoring ambiance

Visitors to Rome often note the distinctive quality of the city’s light. With its dry and arid Mediterranean climate, the bright and sharp light plays off the solid architecture of stone and concrete to create deep contrasts and shadows. It dictates and changes what we can and cannot see at different times, often revealing only a small fragment of the overall picture.

A quirk of the human mind is its tendency to sprawl. We are overwhelmed when exposed to too much information and bored with too little. What holds our attention best is a partially-revealed picture that anchors parts of our imagination while allowing the rest to hover freely to fill in the voids. The ambiance of a place is often defined by what is concealed—a noisy cafe shifts our focus to the sight and smell, while a dimly lit street might foreground the sound and chill.

The physical space can offer an anchoring ambiance. Instead of the floor-to-ceiling glass walls favored by luxury developments, perhaps a few well-placed windows may allow us to see the outside more closely. By editing what our mind can see and perceive, we leave space for our imagination to roam and wander.

4. Loosely-defined uses

For a city famous for its walkability and public spaces, Rome has an unusual lack of public benches. But there’s always a place to rest, whether you’re sharing a podium with a Roman God, or leaning against the inclination of a once-impenetrable fortress. People intuitively adapt, exploit, and react to the spaces around them as they navigate and occupy the city.

Most modern buildings and spaces are designed for specific functions—a meeting room for meetings and a classroom for classes. Some are even designed to discourage unintended uses, such as segmented benches that prevent people from lying down. In a historical city like Rome, with its accumulated layers of architecture, landscapes, and urban form, few things are used for their original functions, and nothing fits precisely.

While the dictum of form follows function has an alluring logical clarity, it’s also a self-fulfilling prophecy, with the function constrained by the tight-fitting form. When we design our spaces to loosely fit their intended uses, we naturally invite exploration and appropriation. As any parent knows, a snowy slope entertains a child for longer and in more ways than a purpose-designed playground slide.

5. Intentional collage

A Roman walks into a bar, holds up two fingers, and says “Five beers please!” The joke works by connecting two previously separate frames of reference: two fingers for two, and V for the Roman numeral five. Inspiration works in a similar way, by revealing a previously unnoticed relationship. We never quite know which two things will resonate, so one of the best ways to generate inspiration is to be constantly exposed to new collages of things and ideas.

Rome is in many ways the perfect collage-generating machine, where the ancient coexists nonchalantly inside, around, above, under, and next to the cutting-edge. Walk past a classical facade marked by graffiti, and you might notice the original Latin inscriptions under the latest tag, both created by the same human impulses. Experiences like these recalibrate our sense of perspective in the vastness of history, while at the same time affirms the universality of our human instincts.

Despite the urge to categorize and organize, we could allow some messiness of life to spill through. In our spaces, instead of insisting on a uniformed look where all the furniture must conform to a color or style, a diverse collection accumulated over time often inspires more stories.

My partner and I have always been drawn to certain spaces with a special spark—places where we feel relaxed, inspired, and curious, and can wander freely. While an anecdote from Rome or other exotic locations often serves as a shorthand for this spark, this project is our attempt to pin down this elusive and intangible quality, so that we may discuss and design for it more intentionally and precisely.

Now, as we emerge from the pandemic, we are presented with the rare opportunity to re-examine the value of our physical spaces. Perhaps we can draw on some of these principles to design future environments, not only as something to be optimized for productivity and efficiency, but as pleasant and inspiring spaces to be in, wander around, and maybe encounter the unexpected.

As a city, Rome is measurably inefficient; the concept of finding the quickest route between points A and B is almost non-existent.

At their core, rituals are intentional actions that follow a particular repeatable pattern. Certain words or phrases, symbolic props, and patterned movements are used to elevate everyday moments into meaningful and memorable experiences. Rituals have a unique ability to make intangible values and beliefs concrete because they bridge the mind and the body, the two ways humans process and make sense of the world. We use them all the time in religion, politics, and sports to help groups navigate change, form a shared sense of identity and purpose, and enhance performance—but we forget they can also be incredibly powerful at work.

In the past year, we’ve had a lot of time to learn about rituals for the virtual world. Some of IDEO Chicago’s favorites are featured in a new book by Stanford’s Ritual Design Lab called “Rituals for Virtual Meetings: Creative Ways to Engage People and Strengthen Relationships.” The book highlights remote rituals from companies around the world that help with focus, connection, flow, and more. Here are some of our favorites.

Embrace the cacophony

For years, all-hands Monday Lunch Meetings (MLMs) have been an important weekly ritual for sharing inspiration, information, and project work over a meal at IDEO studios across the globe. When we first entered round-the-clock remote life, presenters were faced with an intimidating, feedback-free void. It felt cold and awkward, and nothing at all like the MLMs we knew and loved.

To fix that, we identified that the MLM routine itself wasn’t enough—we needed to design moments of consistent virtual connection to revive the feeling of the shared experience. So we sped up the pace of shares, encouraged side conversations in chat, added sound effects like air horns through a creative hack using DJ software, and fully leaned into the awkward audio latency tendencies of video calls with our monthly singing of “Happy Birthday.” By embracing the cacophony, we subverted the silence and saved each other from being isolated in the void, retaining some semblance of consistency and communal spirit during an otherwise unpredictable and lonely time.

Find serendipity through structure

When we were together in our studio, we could rely on the walls and furniture to create safe boundaries and immersive experiences. But in a video room, space can feel infinite and spontaneous conversation challenging. We realized we needed to design specifically for serendipitous encounters.

One of the first events we created was the ChIDEO Variety Hour. An event inspired by improvisational, slapstick variety shows (think The Muppet Show and old telethons), it’s meant to showcase the range of talent and work being done in the studio. It feels spontaneous and whimsical thanks to two constraining factors: First, presenters sign up in advance for “on-screen time”—from as little as one minute to as long as 30. Second, two hosts write a script for the show and get robust “back of house” support from a team that monitors live technical aspects like time keeping or moderating chat.

At the first Variety Hour we had a research share from recent project work, an intermission dance party, and one minute of screaming, to name a few examples. It was the most participatory virtual event we had ever had, and Variety Hour has since become a beloved monthly ritual in our digital studio.

Make the most of digital tools

When everyone works remotely, the physical distance becomes compounded with digital invisibility. The right ritual can manufacture proximity, rebuild trust and connection, and mimic the ebb and flow of a good house party. This is where digital tools can shine.

The Breakout Room function is meant for subdividing large webinar audiences, but we asked, what if it was used for something like speed dating? Breakout Rooms can be randomized, sized in different ways, and attendees can even move between them on their own. We harness these features for an icebreaker game called “Chance Encounters of the Zoom Kind.” By randomly placing participants in different breakout rooms together, keeping the duration a surprise, and providing thought-provoking conversation prompts to break the ice, we recreated casual collisions for the digital office. In some cases, it was the first time people had seen each other since the lockdown began, and it provided much needed reconnection, randomness, and joy.

Developing your own rituals

If you’re looking to decrease the stress that accompanies change, create conditions that kickstart innovation, inspire greater trust and collaboration among coworkers, or turn the mundane into the memorable, consider creating your own workplace rituals from scratch—or turn to the dozens outlined in Rituals from Virtual Meetings for inspiration.

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When COVID first sent office workers remote, many companies struggled with the decentralization and loneliness of virtual work. Thankfully, at the IDEO Chicago studio we had a secret weapon we knew would help us bring serendipity, joy, and creativity into the uncharted landscape of perpetual videoland: rituals.

Our personalities and outlooks, where we grew up, and all of the experiences we’ve ever gone through in life get filtered and expressed through the things we create. And—perhaps even more importantly—our identities impact why we create, helping us find meaning and purpose in our creative work.

In celebration of Asian Pacific American Heritage Month (APAHM), we're sharing reflections from some of the incredible creatives who continue to inspire us. Here, they share insight on what drives them and their goals for the future—bound to, centered in, and empowered by their unique identities.

Adamu Chan, Writer, Filmmaker, and Community Organizer

Adamu Chan is a formerly incarcerated writer and filmmaker whose work is shaped by his connections to community. He’s written for Slate about the impact of COVID-19 on prisons, and has published a short film from within San Quentin. He sees his role as a catalyst to drive change in society.

“Culture and history are our collective memory, and history is usually shaped by dominant groups. Art has historically been one of the only avenues for marginalized peoples to participate in dominant discourses, and so I believe it is the job of artists to produce cultural projects that propel political and social transformation. I would like to be remembered as someone who helped move our world towards being more equitable, just, and inclusive.

If we are committed to transforming ourselves and our society, it is important to hear the stories of those who have always lived at the margins, because they hold the answers to what is broken, and in their stories of survival are the solutions we are seeking.”

Kimberly Ang, CEO and founder of of KAYA

Kimberly Ang is the founder and CEO of KAYA, an app that connects climbers and helps them track and get insights from their workouts. Prior to that, she led IDEO’s Design for Health portfolio. Today, Kimberly is focused on forging a path so that others like her feel welcome within the climbing community.

“Looking ahead, there are three changes we’re focused on: 1) Democratize access to the insights and coaching people need to learn how to climb and climb well 2) Celebrate a much more diverse range of climbers to show everyone they can be included in this community and 3) Take care of our public lands and ensure we grow sustainably.

I hope to be remembered as leading with heart and being myself, and creating space for others to do the same.”

Anupama Rao, Communications Designer and Behavioral Science Practitioner

Anupama Rao is the creator behind BrainGoo, a library of visual storytelling sequences (often in the form of Instagram posts and stories) that explain complex words and make observations about the world. In her day job, she’s a Design Researcher at Qure.ai. Her work is fueled by a desire to make healthcare access more equitable and compassionate.

“I work in the intersection between the future of design and behavioral science so that I get the chance to tackle wicked problems, especially those focused on women’s rights and healthcare, via small incremental changes. I’m fueled by my experience as my mother’s primary caregiver from a young age. The idea is to work towards inclusive design by consciously accounting for representation, systemic inequalities, social biases, and lack of access.

Currently, as a designer at Qure.ai, I work with experts to create AI products that make healthcare affordable and accessible, which is equal parts challenging, overwhelming, and rewarding. I love seeing how design can play a role. For example, can designing this report differently save a healthcare professional 10 seconds? What factors influence a crowded ER when a patient is having a stroke? How can I make this relevant to a low-resource, sparsely populated village?

I want the legacy of my work to be its empathy for the context it lives in, and its ability to create sustainable and positive behavior change.”

Michelle Lee, Managing Director, Design For Play at IDEO

Michelle Lee leads the Design for Play studio at IDEO, where she designs actual toys—but also finds ways to bring games and play into other unexpected industries, like education and health.

“My initial career in toy design taught me that play has potential far beyond the world of kids and toys. Through play, we stretch our imaginations, conquer our fears, realize new possibilities and take on challenges with optimism and confidence. It enables us to find meaning and happiness in the world. At IDEO, I lead a team that harnesses this power of play to ensure that aging is joyful, education is engaging and environmental action is inspiring.

I see the future in bringing play to tackle some of society’s biggest challenges—helping people thrive mentally and physically, building inclusive communities and helping to elevate voices that are often unheard. Driving lasting change by aligning these important issues with what brings people joy.”

Want to learn more, and get inspired by other Asian and Pacific Islander creatives? Follow the #AsianCreativeNetwork tag on social media, and check out our Asian Pacific American Heritage Month series on Instagram.

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What you make is who you are. For many designers, creativity is rooted in identity.

From flexible working conditions to the coexistence of both physical and digital experiences, COVID-19 has accelerated the trends and behaviors that have been rearing their heads for some time, and pushed them to the forefront of our everyday lives.

Indeed, the future is already here. How might we fully step into it with creativity and resilience?

Recently, a group of IDEO designers in Tokyo convened a creative project to brainstorm and design for the implications of the pandemic on the future of Japan. Called “Emergent Futures,” the goal of the work—accessible below—was not to predict the future, but to prepare for the possibilities it may bring.

To envision these “emergent futures,” we started where we always do: with people, and by observing ourselves, our families, and communities. For each future, we describe what it looks like and what behaviors prevail, the evidence we see for this future already emerging, and what design opportunities exist for Japan-focused businesses.

For example, the first emergent future we explore is Leftover Spaces—the idea that physical spaces will become more dynamic due to public health concerns around occupancy. With this, business opportunities related to rent, consumer preferences, space design, and co-ownership emerge. We explore and ground this emergent future through Kei, an IDEO designer and blossoming curry chef, whose needs inspired us to prototype a pop-up system concept—the Kei Truck. Our research reveals how some businesses are already prototyping this future, including restaurants operating as corner stores and Hoshino Resorts, who is leveraging data tracking to keep guests safe. These examples provoke key takeaways for leaders, from the need to develop a more entrepreneurial, adaptable workforce to using data in a human-centered way.

Though Emergent Futures is a collection of provocations about the state of Japan post-pandemic, the value of this futuring exercise and framework is universal, especially now. For Japan and other parts of the world to meet the challenges and opportunities we face post-COVID—from how to safely utilize physical spaces to how to remain competitive in a changing job market—our response must be human-centered, innovative, and imaginative.

Please share the work far and wide. We hope to spark the global collaboration required to ensure the future is evenly distributed, so we can step into it with confidence and creativity, together.

Download and share Emergent Futures here.

“The future is already here—it’s just not very evenly distributed.” Though attributed to essayist William Gibson nearly 20 years ago, the quote could not be more relevant today.

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.