More than 7 million people each year came to the Boston.gov site to tap into all sorts of city services: reporting a pothole, learning the assessed value of their property, paying a parking ticket, checking recycling schedules.

Boston wanted to create a beautiful platform that would make the process of finding and navigating information easy and intuitive, one that prioritized the needs of its people.

The Boston.gov site had outgrown its existing structure and needed an overhaul. The user experience was mired by the fact that Boston City Hall has nearly 50 different departments, each with its own microsite, navigation and content standards that feed into a centralized site.

So the City of Boston hired IDEO to design its new digital home, Boston.gov. IDEO designers worked with the major stakeholders—department heads, employees, and Boston residents, with a focus on those in underserved communities and those with varying levels of technical proficiency—to gather insights into what users needed.

The objective was to design something that would simplify how people navigate the site, to make it easier for residents to find answers to common questions, and, in the process, serve as a community facilitator—an up-to-date, reliable resource that makes life in the city more manageable.

Rather than organize the site by the city’s departments, the design solution was rooted in illuminating relevant content by topics—people’s life moments—many of which overlapped through different branches of government. Owning a car in the city, for example, is closely related to preparing for winter, so bridging those common threads allowed for a more intuitive organizing principle.

In the process of the site redesign, IDEO also helped to create a visual identity system that underscores Boston’s strengths: the city’s confidence, humility, personality, and optimism.

In addition to the web architecture and redesign, IDEO also produced a comprehensive style guide to help maintain design consistency, so departments can add content without compromising the overall integrity of the site, as well as a brand look that the city has decided to adopt across nearly all of its consumer-facing media. Now you’ll see the famous underlined B on T-shirts, banners, and even snow shovels.

Holding true to its mission to include Boston residents and all site users in its design process, the new Boston.gov site was piloted for six months, and the process document on the city’s blog (including the IDEO designed brand guide), before a full launch was rolled out in July 2016.

“The website should act like a helpful human. This is one of the big differences between the old site and the new site,” said Jascha Franklin-Hodge, the city’s chief of information technology in a Boston Globe article. “Oftentimes, when you looked at something on the old site, it would feel like you were interacting with some sort of lawyer-robot that was speaking to you in government-speak, using very formal language. We are trying to move away from that so your experience is akin to a person.”

The City of Boston was in need of a new digital home—one that emphasized a shift to a more welcoming tone and commitment to its citizens.

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In the Western Hemisphere, The North Face brand has long represented an active, sporty lifestyle that’s filled with challenges and adventures. But appreciating “the great outdoors” in China is less about extreme sports and more about connecting with nature in a communal, spiritual way. This research-based insight led the team to identify new opportunities for The North Face to better target its messaging.

Designers found a key opportunity: Encourage Chinese consumers to escape the pressures of hectic city life by enjoying the freedom and renewal that comes with spending time outdoors.

Today, as people find less time to enjoy the benefits that lie just beyond China’s large cities, there’s a tangible desire to return to the outdoors to refresh, reassess, and renew oneself. The North Face aims to help consumers do exactly that.

To create a compelling new brand vision for The North Face in China, the team’s design research tapped into Chinese ways of spending time outdoors. IDEO’s insights and creative brief provided the essential brand story for The North Face in China and informed the tagline of the company’s current marketing campaign, “Go Wild” (去野). The North Face brand’s new messaging links “old nature” and “new outdoors” through a combination of digital, retail, and interactive community channels.

IDEO also collaborated with the company on designs and prototypes for a new digital platform and an updated store-within-a-store merchandising display. The digital community aims to attract newcomers and connect them with more experienced outdoors enthusiasts and clubs. As the platform evolves, it will help aspiring adventurers plan trips, learn skills, and share their experiences through photos.

The retail community space aims to integrate this digital community with in-store shoppers and an effort to turn the “buy-a-product moment” into a “join-the-outdoors moment.” Both will be integrated to provide a holistic brand experience in China centered on nature and community.

In the West, The North Face, with its decades-long history, has long symbolized an adventurous, active lifestyle. In China, however, the outdoor market only began accelerating in the early 21st century.

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Success in this growing market depends on building strong and deep connections with Chinese consumers.

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20% sales growth in China

from 2012 to 2013—the year the project was completed—propelling the brand from sixth place to a market-leading position

Over the last 36 years, IDEO and Lilly, along with the pharmaceutical giant’s other design, development, and manufacturing partners, have collaborated on more than 250 projects. During this time, Lilly has not only honed its engineering-focused internal device-development team but also transformed into a human-centered organization with extensive, robust in-house innovation capabilities.

Early in the relationship, a team of IDEO designers and Eli Lilly leaders traveled the world to understand how people with diabetes live with the disease. Their findings led to the design of a series of award-winning insulin injection pens like SAVVIO. Portable, aesthetically pleasing, and discreet, the pens are suitable for use in both medical and personal settings. Combined with Lilly’s technical design prowess, this human-centered focus allows the devices to seamlessly integrate into patients’ lives and routines, making a challenging disease like diabetes feel more manageable.

Fast forward to today, Lilly’s innovative, easy-to-use auto-injectors are not only continuing to provide life-saving treatments to people with diabetes but also enabling the adoption of the popular GLP-1 weight-loss drugs Mounjaro and Zepbound, which together accounted for the majority of the company’s annual revenue in 2025. Perhaps most importantly, patients consistently rate the experience of using Lilly’s auto-injectors as relatively pain-free, easy to use, and preferable to competitors’ brands, improving adherence, satisfaction, and health outcomes.

This unwavering focus on driving innovation through a patient-first mindset is evident in some of the most impactful projects Lilly and IDEO collaborated on over the years:

GLP Auto-injectors
Convenient and cutting-edge, the first Trulicity injection device was originally designed to deliver the GLP-1 drug to treat type 2 diabetes. Today, it has been adapted for use with other GLP-1s, Mounjaro and Zepbound, which are increasingly popular weight-loss drugs and are also administered once weekly via fixed-dose injections. A wide base enables the pen to be held securely against the injection site, and the device automatically regulates the dose and needle depth.

Taltz Injectors
For most patients, living with severe plaque psoriasis means being your own medical technician—metering your drug dosage each time, and attaching and removing needles by hand. Taltz provides patients with clear visual and auditory feedback throughout the injection process through simple icons, bright colors, a translucent material, and clicking sounds. The devices are available in both autoinjector and prefilled-syringe formats and are adapted for Emgality, a preventive monthly migraine treatment, and Ebglyss, which helps treat eczema or atopic dermatitis.

HumaPen SAVVIO Injection Pen
Key insights informed the design of SAVVIO, including patients’ preference for insulin pens that look less like medical devices and more like everyday objects you’d find in a backpack or purse. The sleek, colorful device was created to help patients feel comfortable and confident about fitting mealtime injections into their everyday lives.

Refillable Human Growth Hormone (HGH) Injector and Reconstitution Device
Designed to be kid-friendly, the Refillable HGH Injector leverages insights into pediatric treatment adherence to create a more integrated, systematic approach to treatment, while the Reconstitution Device makes mixing Lilly’s powder-and-liquid drug easier and less intimidating for parents and healthcare professionals alike.

KwikPen Insulin Pen
KwikPen is a next-generation, prefilled insulin injection pen that builds on the success of two previous designs, reducing its size to 5.7 inches and enhancing ease of use for patients.

HumaPen(R) Luxura™ Insulin Pen
HumaPen Luxura combines several innovations into a robust yet elegant pen that can be carried and used anywhere—an insulin pen solution that improves dosing accuracy, dose setting, and injection force.

In addition to designing products to meet the needs of people with diabetes, IDEO and Lilly have developed innovations in areas of oncology, autoimmunity, and men’s health. The results of this collaboration and expansion have won numerous design awards and produced one of the longest and most fruitful innovation relationships in IDEO’s history.

In the 1990s and early 2000s, Eli Lilly had a number of new, life-changing medications and two big challenges: Most of its drugs were self-injectables, not pills, so patients were hesitant to take them. And its drug-delivery device platform lagged behind its drug pipeline.

99%

of Trulicity users reported the auto-injector was “easy” to “very easy” to use in a JDST study

$36.5B

of Lilly’s $65.2B 2025 revenue came from sales of its auto-injectable GLP-1s, Mounjaro and Zepbound, a 45% increase from 2024

‍“…the Advisory Council will recommend transformational programmatic, cultural, and physical change to San Quentin that can serve as a practical model that can be replicated and scaled to other institutions.”

Source: Office of Governor Gavin Newsom: Governor Newsom Names Leading Criminal Justice and Public Safety Experts to San Quentin Transformation Advisory Council, May 05, 2023  https://www.gov.ca.gov/2023/05/05/san-quentin-transformation-advisory-council/

The Advisory Council included the expertise of established criminal justice, public safety, healthcare, academic, reentry, and rehabilitation professionals, along with system-impacted/formerly incarcerated community leaders, and representatives of crime victims/survivors. The premise of IDEO’s involvement is to augment the Advisory Council Co-Chairs’ and members’ expertise in evidence-based best practices and lived experience living and working in prisons, with expertise in collaborative design, synthesis, visualization, storytelling and bringing visions to life.

Specifically, IDEO was brought in to facilitate input-gathering, and assist with incorporating the many viewpoints into a single, cohesive report of recommendations to the Governor. This included meeting the challenge of bringing together the viewpoints of 21 people on the Council (17 members, three Co-Chairs and an advisor to the Governor); incorporating the views of people who are most impacted (those incarcerated at San Quentin, San Quentin staff, community-based organizations, victim/survivor groups, among others); and formatting and designing the final report.

IDEO’s facilitation included workshops with the full Advisory Council, individual interviews and check-ins with Council members to gather their input to inform the recommendations. Each Advisory Council member was asked to speak with, and record feedback from, no fewer than five people at San Quentin or in affected communities and to share this feedback with IDEO. IDEO integrated this information and feedback into this report.

Research activities included visits to San Quentin to speak with and facilitate conversations with:

• San Quentin residents (100+) including the Citizens/Inmate Advisory Council, focus groups with Spanish-speaking residents, former gang members, ACT (LGBTQIA+), Voices Heal, People in Blue, San Quentin Citizens Advisory Council.
• San Quentin staff (100+) including interviews with numerous officers.
• San Quentin staff and residents together.
• Current participants and staff at Amistad (MCRP) and Beacon (former lifer) campuses (many who were previously incarcerated at San Quentin).
  
  

IDEO also organized listening, information sharing and feedback sessions, both at San Quentin and in the community, between Co-Chair representatives and various stakeholder groups, including victim/survivor groups, labor unions, and advocacy organizations. These perspectives were also brought into the report.  

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Because usage is tied to a period of time, a digital calendar with interactive feedback seemed like the perfect way to represent a year in the life of the Chicago studio. There would be three elements to it: a milled piece of wood whose undulating shape would represent changes in energy usage over time; an interactive display that would show usage in more detail; and a set of buttons that would let users call up specific data on the display.

The Code

This is a tricky project for someone who doesn’t know anything about coding let alone a programming language. I had to figure out how to manipulate the usage data using tools from my life as an industrial designer. I started with Grasshopper, a visual programming language and a plugin for the 3-D modeling software Rhinoceros that I learned how to use as an undergrad. Instead of writing code, you connect boxes of different abilities to each other. By connecting the boxes with each other, I was able to pull in the data from my Excel spreadsheet and convert it into 3-D shape; then it was ready to work within Rhinoceros. Because Grasshopper is a plugin for Rhinoceros, you can see what you’re doing as you go. After some long nights, I figured out how to display the data in a 3-D shape.

Prototyping

With the code all set, I moved on to creating the touchable surface. I made some quick 3-D prints of the data I created in Rhinoceros, then made a low-fidelity video prototype to display how the installation would look and work. The idea was to let the user feel the changing data via a touchable surface, and give him/her a visual representation of the data on the screen.

Build Phase

Step 1: Milling the wood

The touchable interface was the main piece of my installation, so it was crucial to get it right.

I bought one long piece of walnut and used the table saw to cut it to the length I needed, then glued the resulting pieces together. I created the undulating surface with a CNC table mill, which took roughly 10 hours. It was loud and dusty, but worth it. To get the perfect finish, I had to sand it — a lot. I probably could have stopped earlier, but I wanted to have a perfect piece. Then, I rubbed it with Danish oil to protect the surface and bring out the wood grain.

Step 2: The visual feedback

To create the visual feedback, I used a Raspberry Pi, a capacitive touch board (MPR121), a 7” HDMI screen, wires, and some copper rivets. With no experience with Raspberry Pi or electrical engineering, I had to catch up quickly. To display the data on the screen, I used a handy piece of code I found on the internet called PiPresents. For input, I used capacitive touch buttons, which I linked to specific images that display the data.

Step 3: Panel assembly

This step was one of the harder parts. I had to bring all the different pieces together and create the framed panel. I started with a cheap frame from an art supply store, then created an acrylic, laser-etched back panel, spray painted it black, and sanded it to make it matte. Next, I attached the wooden panel to the screen, and connected the 12 capacitive touch buttons, one for each month, arranged along the long axis of the wooden surface. Once everything was in place, users could feel the wood to get a sense of our changing energy usage, then touch the buttons to see a drilled down explanation of the data by month. About a month and a half after I first came up with the idea, it was finally ready to present to the studio.

A big thank you to the whole studio, especially to Chris Gold for helping me during the milling process, Rob Rehrig for giving me a Raspberry Pi 101, and Sophie Feng for taking awesome final pictures and video. Want to recreate the project? Check out the code on Github.

As an industrial designer, I’m always eager to bring together the digital and the physical. So when I discovered that the Chicago studio was collecting data about their energy usage, I decided to create a project that would make that information feel real, teach me more about other disciplines, and serve as a gift to the studio that had hosted me as an intern for half a year.

"Arrivo!," I shout to the taxi driver as I close the gate of the building with my foot. I speed walk towards his car, parked 50 meters down the road, drag the suitcase on the back seat and ask the driver to take me to the airport. My holiday in Napoli—my hometown—is over. I'm already shivering at the idea of setting foot back in London.

Halfway through the trip, my eyes catch on an unusual detail. A tennis ball cut in half to fit the top of the taxi's gearstick. I can't help but investigate.

"Ascolta (Listen)," he says in the gruff voice of a longtime smoker, "with this heat, my job gets very challenging." Despite air conditioning, he explains, the sun makes the gearstick slippery and hot, which makes for a rather unpleasant driving experience.

To tackle this problem, he decided to carefully slice a tennis ball in half and place over the gearstick's handle. "It's a precise job," he explains. "You need to make sure it won't move once it's placed." The texture of the tennis ball allows for a better grip, and doesn't get hot in the sun—ta-da!

He brakes lightly to come to a stop at the departures terminal. As he rummages for my change, he surprises me with a Steve Jobs-style "And one more thing ..."

"You know, it's not just about the function of the tennis ball, it's also the excitement of getting a new one every year. That bright yellow marks the start of a new season—it's something I look forward to!"

I gently close the cab door, roll my suitcase to the entrance and, out of the corner of my eye, catch him smiling in the dense, departing traffic.

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.

In one sentence, who are you?

A queer, shapeshifting, creative cat mama with a big heart.

What do you do? How did you learn it?

I am currently an illustrator and a textile designer. When I was a kid, I used to draw little doodles on dinner napkins and give one to everyone at the table. I loved sharing my art with everyone.

When I was around six, my mom enrolled me in a summer program at The Baum School of Art in Pennsylvania. There, I learned all the technical aspects of drawing and painting. I went to Baum every summer for 10 years. Then I got an academic scholarship to Pratt Institute.

The next thing I knew, I was living in Brooklyn and working my ass off. During my senior year, I focused my thesis on textile design. I always liked the idea of bringing my designs off the page and applying them to T-shirts, pillows, hats, chairs, bedding, etc.

I graduated in 2015, and a few of my friends from college and I started Fem Foundry. One of the best things about art school is getting your work critiqued by your peers, and the Foundry lets us continue that. Plus, we do a lot of other fun things, like organizing drink and draws, having gallery shows, and tabling at art fairs.

Like many other twenty-somethings, I had to start paying rent after school. I worked a few odd jobs—did branding for local restaurants, taught painting classes, designed event posters, and helped out at an animation studio. There were many times when I had no idea what I was doing, but I’m a big believer in fake it 'til you make it.

About a year after graduation, I landed a job as a textile designer at Deborah Connolly Designs, a small company in Midtown Manhattan. I went into the interview clueless about the industry, and now, two years later, I can tell you everything you could possibly want to know about designing bath towels, beach towels, kitchen towels—really any kind of towel.

3 favorite possessions?

1. The first and only quilt I ever made
2. A white gold locket my mother gave me with our pictures in it
3. My black denim Fem Foundry jacket that I decked out with pins and patches and my eyeglass collection

What does a typical work session look like?

Right now, I’m designing beach towels for next summer. There’s usually some sort of inspiration or color story for the designs, and then it begins! I work primarily on a Wacom drawing tablet with either Photoshop, Illustrator, or Nedgraphics. Most designs go through a few revisions before I send them out for production.

When I’m illustrating at home, I like using traditional mediums like gouache paint and charcoal pencil. I also enjoy playing around on my iPad in Procreate. It’s exciting what technology is bringing to the table for creative people.

I’m a total podcast junkie while working. Some of my favorites are Reply All, Freakonomics Radio, On Being, Revisionist History, Lovett It or Leave It, Nancy, Death, Sex & Money. If I sit in silence, I tend to overthink things; listening to something keeps my momentum going, and it’s a great way to track how long I’ve been working on a project.

How do you get over creative block?

At work, I’ll just start a new design in order to keep the juices flowing, and then when I’m in my groove, the trickier designs come more easily. With painting and illustrating, I try to step away and come back to it later, or sometimes I flip a drawing backwards or upside-down so I can see it from a new perspective.

What was the last item on your to do list?

Buy cat food at the bodega.

How do you see the world in 2078?

Technology is going to change everything. Hopefully, by 2078, old, white, male Republicans won't be calling all the shots in politics, and there will be peace and happiness among all races and religions.

What’s your number one bucket list item?

Scuba diving in the Great Barrier Reef.

Who are you creative crushin’ on lately?

Oooh… Lauren Callaghan is amazing. She’s such a talented illustrator, I’m very into her use of patterns and bright colors. The designer Ramey Masri is mind blowing, he runs the Instagram @space.ram. Everything is rainbows— everything. I bought some silkscreen prints from Natalie Andrewson at MoCCA Fest a few weeks ago and hung them by my desk. It makes me happy to look at them. I also love Oliver Hibert. His graphic, funkadelic paintings are amazing. But honestly, I’m constantly creative crushin’ on all the talented members of Fem Foundry. I’m so thankful to have them as my friends; they are such an inspiration.

Check out their work on Instagram; or on Facebook.

Cassandra and I first met when we were young, poor, and living in Bed Stuy. As I floundered, she settled into what would become her long-term home. Her art connected her to the people around her, first as a student, then as a freelancer painting murals and business logos for neighbors, and, most recently, as a founder of a local women's art collective called Fem Foundry. Cassandra's work is unflinchingly bright, peculiar, and accessible, even when life and Brooklyn are not. I'll let her take it from here:

But to-do lists aren’t all bad. To-do lists let me capture things so I don’t stress out over having to hold it all in my brain. To-do lists let me see everything in one place. They’re a necessary evil.

So as much as I dislike to-do lists, I need to have one. There are a billion to-do list apps and methods out there, and I think I’ve tried 900 million of them. My favorite was David Allen’s paper-based Getting Things Done. But I constantly fell off the wagon. When I organized my tasks with GTD, I was damn organized—but every time the system fell apart, I not only lost sight of the big picture, I felt guilty, too.

So after a lot of ups and downs, I started doing my own simplified, imperfect thing. I’ve been using my system for a while now, and figured I might share it in case it’s useful to others. Yes, I know, another to-do list system! But you clicked on this story, so maybe you need one.

I call my system the “Burner List”

I’ll explain the name in a sec, but FYI, it has nothing to do with Burning Man. Basically it’s a simple-as-hell to-do list designed to force me to prioritize.

The Burner List is not perfect. It won’t keep track of every detail, or help you juggle a million projects. But that’s exactly the point. The Burner List is intentionally limited—and therefore focused. Here’s how to make one:

1. MAKE TWO TALL COLUMNS

You can fold the paper, draw a line down the middle, or just eyeball it. Precision is unimportant. What is important is the metaphor you’ve just created: Left = front burner. Right = back burner.

2. PUT YOUR MOST IMPORTANT PROJECT ON THE FRONT BURNER

You are allowed to have one and only one project on the front burner. Not two, not three — just one. In the top left-hand corner, write the name of your most important project and underline it. Then list the to-dos for your top project — any task you can do in the next few days to move it forward.

3. LEAVE SOME COUNTER SPACE

Leave the rest of the first column empty. The Burner List is not intended to make an efficient use of the damned paper surface area — it’s intended to make good use of your time and energy! The blank space gives you room to add more tasks for the top project, but, just as important, extra visual space makes it easier to focus on the important stuff.

4. PUT YOUR SECOND MOST IMPORTANT PROJECT ON THE BACK BURNER

In the top of the right-hand column, write the name of your second most important project and underline it, then write related to-dos underneath.

5. MAKE A KITCHEN SINK

Finally, about halfway down the right-hand column, list any miscellaneous tasks that you need to do but don’t fit with project 1 or project 2. It doesn’t matter if they’re part of project 3 or 4, they just get chucked into the kitchen sink with everything else. Yes, this goes counter to all organizational and productivity advice — but by constraining the space and attention you give to other stuff, you'll help yourself spend your time well.

Now get cooking

Imagine there was a chef standing to the left of your page. He’ll naturally focus most of his attention on the front burner. He’s aware of the back burner, and sometimes he stirs a pot or flips a pancake back there, but the front burner is where the action is.

The Burner List is intentionally limited. It won’t have room for everything. You’ll have to let go of things that aren’t as important.

The Burner List is also disposable. It gets stale fast as you cross off finished to-dos. I “burn” through my list every few days and then recreate it, over and over. This act of recreation is important, because I always discard some unfinished tasks that no longer matter, and I reconsider what belongs on the front burner right now. Sometimes it’ll be a work project, sometimes it’ll be a personal project—over time, I’ve realized that it’s okay and natural for the spotlight to shift. What’s important is there can only be one most important project a time.

To learn more about Jake's methods, subscribe to his newsletter here.

Man, I hate to-do lists. Checking off finished tasks feels good, but the glow of accomplishment masks an ugly truth: Most to-dos are just reactions to other people’s priorities, not mine. And no matter how many tasks I finish, I’m never done — more to-dos are always waiting to take their place. To-do lists just perpetuate the feeling of “unfinishedness” that dogs modern life.

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.