As many as one-third of the 300,000 annual cardiac arrest fatalities in the US could be avoided if defibrillation was applied within minutes of the cardiac event.

Working with Heartstream, IDEO tested the effectiveness of alternative defibrillator configurations with different users to help develop a highly mobile and easy-to-operate product. Heartstream systematically refined the concept with the goal of making its defibrillators affordable, transportable, and as ubiquitous as fire extinguishers.

(This device is now manufactured by Philips.)

Julep, a fast-growing beauty brand, noticed a problem that has vexed generations of nail polish users: The wand on the bottle is awkward and clumsy to use.

After rounds of user research, IDEO and Julep came up with the solution: the Plié Wand. The elegantly tapered handle sits easily in the hand and connects magnetically with a wand finely calibrated for precision. And for maximum flexibility, it bends to rest gently in the hand, making it an ambidextrous instrument.

Injured US servicemen and servicewomen returning from war must adapt to a home, finding workarounds to cope with their surroundings based on individual capabilities and preferences. Clark Realty Capital, a Virginia-based real estate firm that has partnered with the Department of Defense on more than $4.7 billion in privatized housing, collaborated with IDEO on a new model for building accessible homes on military installations.

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Facing the challenge of visualizing and designing the ideal home for soldiers injured in the field, Clark Realty Capital and IDEO designed floor plans and amenities that would meet or exceed the Americans with Disabilities Act (ADA) standards and be versatile enough to accommodate varied physical and psychological needs. The IDEO design team took an in-depth look at accessibility issues, interviewing and observing civilians and injured soldiers, and asked questions that shed light on how active-duty service members resume civilian life after debilitating injuries. What could make their experience more dignified and healthy, and what might reconnect them with family, close friends, and the world? The team uncovered seven contrasts that defined the complex needs of disabled soldiers and their families, and used these as direction and inspiration for adaptable homes for specific physical, mental, and emotional needs that also fit into the context of everyday life.

The final deliverable consisted of the home design but also included a book and poster that featured floor plans, elevations, and interior renderings. A compelling video montage depicting three real-life military families in the context and challenges of their current homes further reinforced the goals of this worthwhile endeavor.

US Army Fort Belvoir and Clark Realty Capital unveiled the homes on November 30, 2011, in Fort Belvoir, Virginia.

With nearly 5 million registered voters, Los Angeles County represents the largest voting jurisdiction in the United States. Guaranteeing every citizen the right to an accessible and intuitive voting experience has been the highest priority for the Los Angeles County Registrar-Recorder’s office, which oversees the election process.

To revamp its antiquated voting system that dates back to the 1960s, LA County hired IDEO to design the concept, look, and feel of its next-generation replacement, a modular system that could adapt over time. And just as important, one that would be designed, developed, and owned by the county.

Working closely with LA County staff, IDEO designers created a voting system that addresses the complexities unique to that voter base, including its vastly diverse population and its myriad election laws and policies. It was imperative for designers to build a system that would be useful and accessible to all types of voters: those who are vision and hearing impaired, in wheelchairs, have learning disabilities, are unfamiliar with technology, speak languages other than English—voters of all ages and backgrounds.

Their goals: to create one device for equal access, to define a voting process that feels familiar to voters, balancing both emotional and functional needs, and to build a system that’s adaptable over time.

The resulting prototype, designed in collaboration with Digital Foundry and Cambridge Consultants, is a voting device that’s customizable for different user experiences. A touch screen allows any voter to easily navigate the ballot by advancing through different screens showing lists of candidates and ballot measures. For those with vision impairment or reading disabilities, an audio and controller experience guides voters through their options with a push of a few simple buttons. And voters who prefer to read the ballot in a different language—Spanish, Chinese, Korean, or any one of the 11 languages supported by the county—can choose their preference on the same machine. Once they’ve tapped in their selections on the device, they receive a printed paper ballot that goes into an integrated ballot box (the use of a traceable paper ballot is still mandated by law).

Just as we’re able to use our mobile devices to simplify our lives for everything from shopping online to fetching a taxi, the new prototype also allows voters to participate in the ultimate act of democracy with the same ease and accessibility. Voters can mark their votes on their cell phones when it’s convenient, then go to a polling station to transfer their selections from their phones to paper ballots, and cast their ballots in a ballot box.

It’s this convenience factor that officials hope will ultimately make the act of voting more meaningful. “As an election administrator, I can’t drive how exciting the candidates are or how controversial the measures are,” said Dean Logan, LA County’s Registrar-Recorder and County Clerk, whose vision has driven this project. “What I can do, though, is drive a voting experience that’s appealing and that makes you feel the actual weight of the significance of casting a ballot. To be able to go to any location that’s convenient to you, I think adds to that sense of intrinsic value to the voting process. It makes it feel like I’m participating in something that’s meaningful and important, that’s consistent with the way I do other things in my life.”

Once the bulk of the work was completed in June 2016, IDEO handed off designs to the county for execution. IDEO has continued to advise the county and its implementation partners on an as-needed basis to ensure the original intent of the designs—to create a deeply human-centered voter experience—are incorporated during the implementation phase. LA’s new voting system, which rolled out in 2020, has the potential to influence how other counties across the country update their outdated systems.

VIDEO: Democracy By Design, interviews with designers, researchers and Los Angeles County staff. Produced by the Los Angeles County Registrar/County Clerk.

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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 don't snap pics of my lunch @plantbowls to brag about what I’ve made or ordered. I do it to take stock of what I’m about to eat, to appreciate it, and to build community around it—something I’m in the habit of doing as a coordinator for IDEO U.

Four years ago, I shifted to a plant-based diet. Going vegan turned out to be an easy move with the help of Instagram. Because I made it a habit to capture food in the best light, it started to look gorgeous. Focusing on plants might seem bland, or limited, but documenting them made me realize the glory of spices, vegetables, fruits, beans—the sheer variety of it all! I began to revere colorful jewels of fruit, to inhale the aroma of a tahini sauce before I dug in. I really noticed what was on my plate. I would take an extra beat to slice an avocado onto a bowl of veggies or drizzle nut butter on top of steaming oatmeal, both to make them look more appealing and add to their deliciousness.

Not long after I started foodstagramming, I read an article that explained why. It turns out that by taking pictures and waiting a little longer before we pick up our forks, we delay gratification, which makes the food seem more delectable. By holding off on eating for a beat or two, I was actually making it taste better.

And when I posted these dishes on Instagram later, I got to experience them again while trying to think up a clever caption or hashtag. Initially, it was just about sharing a beautiful image. But seeing others be surprised by the diversity of plant-based foods, and having them ask about recipes meant a lot to me. Maybe they'd get inspired to shift to a healthier diet, too.

We eat at least three times a day. Why not bring more joy to a basic necessity? It feels good, it smells good, it looks good… and it gets a lot of likes.

Here are some accounts I follow to get inspired:

1. instagram.com/healthiecook
2. instagram.com/panaceas_pantry
3. instagram.com/feastingonfruit
4. instagram.com/nathaliesader
5. instagram.com/thefeedfeed.vegan

And here’s mine: instagram.com/plantbowls

It's easy to roll your eyes at the guy at the table next to you lurking over his food, phone in hand. I once considered foodstagramming to be a cliché, and certainly think spending much of our time with our faces planted in our phones is not a great evolutionary turn. Then I started my own foodstagram.

After Effects is one of my favorite prototyping tools. I use it to animate web and mobile interactions, or to demonstrate physical interactions by augmenting UI and sound over video footage.

AE is super powerful, but has a deep and twisty interface with lots of corners to navigate. The timeline is one of its most daunting aspects. Things can escalate quickly, and before you know it, your project is a labyrinth of layers, expressions, effects, and comps. Here are a few tips to help you find your way.

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Sometimes you need to cut to the chase. A deadline is looming and there's no time to luxuriate in lessons from your go-to experts. You need bite-sized tutorials to beef up your skills, one morsel at a time. If you're looking for help with After Effects, today's your lucky day.

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.