Podcasts about design innovation

Enterprise Knowledge CEO Zach Wahl speaks with Gianni Giacomelli, Head of Design Innovation for the Collective Intelligence Design Lab at MIT and founder of Supermind.Design. In this conversation, Zach and Gianni discuss how KM goes beyond simple document management or SharePoint, how powering AI with a knowledge graph naturally mirrors how human brains work, Gianni's work in the innovation space as a practitioner and an industry advisor for organizations like Goldman Sachs and BCG, and his keynote presentation at the upcoming Knowledge Summit Dublin conference in June. For more information on Knowledge Summit Dublin, check it out at ⁠⁠https://www.knowledgesummitdublin.com/⁠⁠.To learn more about Enterprise Knowledge, visit us at: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠enterprise-knowledge.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.EK's Knowledge Base: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://enterprise-knowledge.com/knowledge-base/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Contact Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://enterprise-knowledge.com/contact-us/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.linkedin.com/company/enterprise-knowledge-llc/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter/X: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ekconsulting⁠⁠⁠

The story of non-profit MakeGood was forged in architect Noam Platt's desire to help people with disabilities. Whether you also have a passion for assistive technology or some other cause lights you up, you don't have to wait for a project to have an impact. Learn why he thinks architects are uniquely qualified (and called) to lead positive change in the community and how to get started. Assistive technology is an emerging field that needs the creative thinking and problem solving skills of architects and designers. Finding areas like this and lending your expertise to them can have a lasting impact on your community. When you advocate and for something that helps people, you're not worried about asking for help or support. Embarrassment or making mistakes pale in comparison to getting something accomplished. You can't unsee problems especially if you know you have the ability to help solve them. One hour of your expert time is worth more than 20 hours of a non-experts time. Start by volunteering and building your network. The experience you get volunteering is experience you won't get working at a firm. That experience can be brought back to better inform projects at your firm. CONTACT NOAM: https://makegood.design/ https://www.linkedin.com/in/noam-platt-92085344/ Give Architecting a Google review- be sure to name the episode! https://g.page/r/CVYGVmEtsUjdEAI/review Stay Inspired, Angela Join the architecting community: YouTube, Instagram,  LinkedIn, Clubhouse, Facebook Interested in sponsoring a show or having me as a guest on your podcast or community? Stop here to get information. Into/outro music Alive by Richard Wasson Copyright 2019

Innovation can feel like a leap into the unknown—especially when everything around us already feels uncertain. In this conversation, host Natalie Benamou talks with Robyn Bolton, Founder and Chief Navigator of Mile Zero and author of Unlocking Innovation. Robyn shares practical insights that make innovation feel more possible—and more urgent—than ever.Together, they explore how to lead innovation both at the organizational level and in your own career. From navigating internal roadblocks to finding your own path forward, Robyn offers real strategies grounded in experience—not theory.Key Takeaways:Innovation isn't just about big ideas. Small changes in how teams work, think, and connect can drive meaningful results.Leadership behavior and company culture are often the biggest roadblocks. To innovate, alignment and honest self-reflection are essential.You can innovate for yourself. In times of uncertainty, creating your own momentum is a powerful act of leadership.Favorite quotes from Robyn Bolton:“Innovation is inherently uncertain—but it's also the best way we have to bring certainty to uncertainty.”“We've spent decades focusing on the structure of innovation, but it's leadership behavior that really drives outcomes.”“There's incredible potential right in front of you with what you're already doing—innovation doesn't always mean starting from scratch.”Keep shining your light bright. The world needs you.About Robyn Bolton, Founder and Chief Navigator, Mile ZeroRobyn Bolton works with senior executives at medium and large companies who are committed to using innovation to confidently and consistently drive revenue growth. She partners with organizations across a range of industries, including industrial goods, healthcare, consumer products, and education. In addition to her consulting work, Robyn is a professor in the Master of Design Innovation program at the Massachusetts College of Art and Design.Unlock Innovation Robyn Bolton on LinkedInReferencesFly Me to the Moon film Connect with Host Natalie Benamou, Founder HerCsuite®Natalie is the host of "Women Leaders on the Move'', a top 25 Women's Leadership podcast by Feedspot. She is also the Founder of HerCsuite®, a powerful women's network with membership programs that advance women in the second half of their career. Natalie is also the President of HER HEALTHX, a nonprofit focused on improving health outcomes for women.Natalie Benamou on LinkedInHerCsuite® on LinkedInHerCsuite® Board Readiness RetreatThrive in 2025 Women's ConferenceThis podcast is sponsored by HerCsuite® Women On the Move, a new membership for listeners to meet and engage with podcast guests. Advance your career in a whole new way. Join us.

The University of Wisconsin-Madison’s Master of Science in Design + Innovation program is making a difference through its Design Horizon initiative. Inspired by the Wisconsin Idea, this initiative helps students create solutions that benefit people, animals, and plants across the state. “We’ve expanded our focus to explore how design can support all living things in Wisconsin,” said Trudy Watt, Academic Director of the program. “By working with partners, students tackle real-world problems that contribute to living well in the state.” Last year, students created the Anthofile Toolkit. This project encouraged native plantings to improve foraging habitats for pollinators. The students developed a digital slide deck and an app to help homeowners and landscape designers choose native plants. “They wanted to dispel myths that native plants are messy or hard to maintain,” Watt explained. See omnystudio.com/listener for privacy information.

In this conversation, Judy Warner and Roberto Piacentini Filho discuss the latest technology trends, particularly AI, and its impact on design engineering. Roberto shares insights on how Keysight empowers innovation at the chip and systems level for emerging AI and data center technologies. He also discusses the challenges of scaling up AI and the importance of virtual prototyping. They also highlight the demonstrations and educational sessions at DesignCon, emphasizing the need for effective tools and collaboration in the design process.  

On this episode, I sit down with Rob Kirkbride (Editor in Chief of officeinsight magazine), a true legend in commercial furniture journalism. Rob's seen it all—from covering “just office furniture” in the early days to witnessing the incredible changes shaping our industry today. Recorded LIVE from the CET Experience in October, we dive into some seriously interesting stuff, like how AI is shaking up design and journalism, why in-person workplace connections are more important than ever, and what it's like to have toured almost every furniture factory out there. Rob also shares his thoughts on mentorship, the future of dealer networks, and how we can better connect with younger professionals. It's a lively, thoughtful conversation with someone who's been at the heart of our industry for years—join us! You can hear more on CETx, such as one of our most popular episodes, "Look for Friendly Faces."Learn more about ROOM The Design Pop is an Imagine a Place Production (presented by OFS)Connect with Alexandra on LinkedInFollow The Design Pop on LinkedInConnect with Alexandra Tseffos and The Design Pop

The Design Pop starts the new year with a reflective and forward-looking episode. Alexandra takes you on a journey through the milestones of the past year while sharing her vision for the year ahead. Discover how experiences from 2024 are shaping bold new initiatives, inspiring personal growth, and fostering deeper connections in the design community. Tune in to be inspired, refocus your goals, and gear up for an impactful 2025!Listen to Trisha Harp's episodeListen to The Design Pop LIVE from CETxContact The Design Pop about Teknion's trainingThe Design Pop is an Imagine a Place Production (presented by OFS)Connect with Alexandra on LinkedInFollow The Design Pop on LinkedInConnect with Alexandra Tseffos and The Design Pop

In this Making Leaders podcast, we hear from Mackenzie Mason, Engineering Manager for Space Mission Systems Structural Dynamics at Boeing and one of three Promise Award Recipients in 2024. Mackenzie began her career at Boeing in 2014 as a Structural Dynamics Engineer. Her early contributions to the company were pivotal to the development of the 702MP/MP+ spacecraft, as she provided crucial recommendations to program management offices and customers and led numerous innovations in dynamic loads analysis and testing. Mackenzie spearheaded the dynamic shaker table move at Boeing's El Segundo site, a project in which she had to overcome numerous challenges, including excavation of the structural test floor, removal of a vacuum chamber and reduction of the structural test lab footprint while adhering to an accelerated schedule. Her strategic planning and oversight ensured that multiple satellites completed testing on the new dynamic shaker table with 100% success, completing a $5 million investment. While working at Boeing, Mackenzie also authored a white paper documenting updated NASA methodologies for predicting shock on composite honeycomb structures based on Boeing's actual spacecraft-level shock measurements. Her white paper is now a critical reference for resolving requirement and verification disagreements in new satellite programs.

Join us as we chat with Erick Gama, a strategic RFP specialist at BOS in Chicago, about his unique journey in the design world. From his college days studying interior design to becoming an integral part of a specialized response team, Eric shares how he carved out his career path. He opens up about the challenges of working on RFPs, the lessons he's learned along the way, and his advice for emerging designers eager to make their mark. Eric's story is a testament to the power of teamwork, personal growth, and staying open to unexpected opportunities in the design industry.Sign up for The Design POP's Monthly webinar as we continue to learn existing design technologies and explore new ones too! https://www.thedesignpop.com/webinarThe Design Pop is an Imagine a Place Production (presented by OFS)Connect with Alexandra on LinkedInFollow The Design Pop on LinkedInConnect with Alexandra Tseffos and The Design Pop

Avez-vous déjà réfléchi à la manière dont le design influence notre quotidien et pourrait façonner un avenir plus durable ? Dans cet épisode, nous explorons cette question avec Salim, fondateur de l'agence Budees. Salim nous invite à repenser le rôle du design au-delà de l'esthétique et à l'envisager comme un levier stratégique pour répondre aux défis écologiques et économiques de notre époque.Salim, notre invité, est un expert en design industriel avec une carrière enrichie par des expériences internationales en France, en Suisse, au Danemark et aux États-Unis. Fondateur de Budees, une agence spécialisée dans la stratégie et l'innovation par le design, il aide les startups et les PME à anticiper les défis futurs en intégrant des pratiques de design durable. Au cours de cet épisode, Salim partage sa vision du design comme une méthode de conception intégrée, visant à créer des solutions désirables qui répondent aux enjeux sociaux, économiques et environnementaux. Il explique comment le design peut être un outil puissant pour anticiper les besoins futurs et rendre les transitions écologiques plus attrayantes pour les utilisateurs et les entreprises. En discutant des pratiques de Budees, Salim aborde l'importance de la réparabilité, de la durabilité et de l'impact environnemental dans le développement de produits, tout en mettant en lumière la nécessité d'une collaboration étroite avec des ingénieurs et des experts pour maximiser l'impact positif du design.Découvrir l'univers de Salim : https://www.budees.frSoutenir Basilic :instagram.com/basilicpodcast/ basilicpodcast.comProduction : Jeane ClesseMusique : @KleinGraphisme : Mahaut Clément & Coralie ChauvinMix : Jeane ClesseSi cet épisode vous a plu, n'hésitez pas à laisser plein d'étoiles et un commentaire sur la plateforme Apple Podcasts et surtout à vous abonner grâce à votre application de podcasts préférée ! Cela m'aide énormément à faire découvrir Basilic à de nouveaux auditeurs et de nouvelles auditrices.

Series FourThis episode of 'The New Abnormal' podcast features Phil Balagtas, author of the superb new book 'Making Futures Work'.Phil is also a former Design Director at McKinsey Design and General Electric (Digital & Aviation) with over 20yrs of experience as a Digital Interaction Designer and Design Leader working across sectors inc aviation, aerospace, airlines, advertising, retail, utilities, and public sector. He's also a Facilitator, Futurist and Founder of the Design Futures Initiative (a nonprofit based in San Francisco), the Speculative Futures network and PRIMER conference - initiatives dedicated to the education and advancement of Futures Thinking and helping organisations develop business and product strategies for the near and far future through Strategic Foresight and Speculative Design. In this fascinating conversation, we discuss all of the above. So...enjoy!

 I'm at CET Experience this week, meeting with designers and hugging friends, new and old - this is one happy place!  This morning, Configure hit the stage with some exciting updates, and though you might've missed it, don't worry—we've got you covered!  In this episode, I sit down with two very special guests: Aaron Okkema (Global Head of Interiors at Configura) and Erin Corrill (Global Head of User Community at Configura). Together, we discuss what's happening at this year's show,  what's new at Configura, and what might be on the horizon for the commercial interiors industry. Sign up for The Design POP's Monthly webinar as we continue to learn existing design technologies and explore new ones too! https://www.thedesignpop.com/webinarThe Design Pop is an Imagine a Place Production (presented by OFS)Learn more about ROOM Connect with Alexandra on LinkedInFollow The Design Pop on LinkedInConnect with Alexandra Tseffos and The Design Pop

I interviewed Job Stauffer and Robin Orr, the two design innovation leads on Starwave, at Meta Connect 2024. They also met and fell in love in VR, and each share their respective journeys into the space through building community around VR fitness experiences. See more context in the rough transcript below. Here's the launch trailer for Starwave: https://www.youtube.com/watch?v=5LtG2qnPeSY This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Watch back a transformative talk with influential social philosopher Roman Krznaric.In a world fixated on the present, we often overlook the invaluable lessons of the past. Roman will explore how insights from the last thousand years can help tackle today's urgent global challenges - bridging the inequality gap, reviving democracy, and preventing ecological collapse.Discover how understanding the origins of capitalism can inform AI regulation, what 18th-century Japan can teach us about creating regenerative economies, and how the coffee houses of Georgian London can help tame social media. Roman will show that history isn't just about the past - it's a tool for reimagining our future.Gain a vision of radical hope and practical solutions for the decades ahead.Speaker: Roman Krznaric, social philosopher and author of 'History for Tomorrow: Inspiration from the Past for the Future of Humanity'Chair: Dr Joanna Choukeir, Director of Design & Innovation, RSA#RSAHistoryBecome an RSA Events sponsor: https://utm.guru/udI9xDonate to The RSA: https://thersa.co/3XPiI1kFollow RSA Events on Instagram: https://instagram.com/rsa_events/Follow the RSA on Twitter: https://twitter.com/RSAEventsLike RSA Events on Facebook: https://www.facebook.com/rsaeventsofficialListen to RSA Events podcasts: https://bit.ly/35EyQYUJoin our Fellowship: https://www.thersa.org/fellowship/join

Hospitality Tech Expo - 15th/16th October 2024 CLICK THE LINK TO FIND OUT MORE

Giant Robots On Tour Hosts Sami Birnbaum and Jared Turner introduce Sheng-Hung Lee, a designer, PhD researcher at MIT AgeLab, and board director at the Industrial Designers Society of America. Sheng-Hung shares his journey into design and engineering, emphasizing the importance of interpreting signals in design and the evolving role of designers from problem-solvers to culture shapers. He discusses how designers must now consider broader, systematic issues such as climate change and aging. Sheng-Hung explains that design is a teachable and essential life skill, highlighting the significance of personal experiences and failures in learning design. He elaborates on the concept of signals, explaining that they represent different perspectives and interpretations in design, which are crucial in addressing complex problems. The conversation shifts to practical design applications and Sheng-Hung's work in smart homes for aging populations. He discusses the integration of various smart systems and the importance of designing for different life stages rather than specific age groups. Jared and Sami also engage Sheng-Hung in discussing the worst and best-designed products, where Sheng-Hung mentions his initial skepticism but eventual appreciation for facial recognition technology. MIT AgeLab (https://agelab.mit.edu/) Industrial Designers Society of America (https://www.idsa.org/) Follow Sheng-Hung Lee on LinkedIn (https://www.linkedin.com/in/shenghunglee/). Visit his website: shenghunglee.com (https://www.shenghunglee.com/). Follow thoughtbot on X (https://twitter.com/thoughtbot) or LinkedIn (https://www.linkedin.com/company/150727/). Transcript:  SAMI: Hello again, and this is The Giant Robots Smashing Into Other Giant Robots podcast, the Giant Robots On Tour Series coming to you from Europe, West Asia, and Africa, where we explore the design, development, and business of great products. I'm your host, Sami Birnbaum. JARED: And I'm your other host, Jared Turner. SAMI: If you are wondering, which you might have been for a while now, where are Will or Victoria, well, make sure you find one of our previous podcasts where we introduce the Giant Robots on Tour Series, and you'll understand why you're hearing myself and Jared a little bit more frequently than before. In that podcast, we throw random icebreakers at each other, and we find out that Svenja does not like online banking. And if you haven't listened to our previous podcast with our guest, Ishani, check that out as quick as you can and find out why AI is compared to babies. Joining us today is Sheng-Hung Lee, a Designer and PhD Researcher at MIT AgeLab and Board Director at the Industrial Designers Society of America. Sheng-Hung, I'm going to level with you. I've done my research. I've done my due diligence on the guests that we have on this podcast, and I'm exhausted. SHENG-HUNG: [laughs] SAMI: I've looked through your own website, and I've read as much as I can find about you. And between education, experience, awards, scholarships, there is an incredible amount of things that you're involved in that you get up to. And it really wasn't good for my own self-esteem just to see how much you have going on. SHENG-HUNG: [laughs] SAMI: Jared, a question for you first. Bear in mind, the only thing I've ever been awarded is my own driving license. So, our guest, Sheng-Hung, how many awards do you think he has currently listed on his website? Give a guess. JARED: Oh gosh, I remember looking at the page, and I remember having to scroll. SAMI: [laughs] Yeah, you had to scroll. JARED: Let's pick 33. SAMI: 33. Do you know what? It's not even close. Okay, he's nearly double that. So, he's up at 60 awards that are currently listed. So, we're talking about a guest that you guys do not want to miss. And you want to make sure that you get into this conversation. I always like to go back to the start with my guests. So, everyone has a story. And I'm interested, Sheng-Hung, in your journey and what led you into the world of design and engineering. SHENG-HUNG: My personal definition of design is, like, decoding signals. So, everything in our lives, like, we have different types of signals. How do we interpret the signal? How do we, like, understand, or perceive different types of signals in our lives? And I feel design is more like...not just creation. It is creation, for sure, but also about curation. I feel like, for me, problem-solving or, like, problem-defining is really interesting. And especially you mentioned, like, my very early stage as a designer, the reason I submitted my work to get an award is because I want to show my problem-solving skill. And I realize nowadays, like, the problem is too complicated. It's not just about solving problems, right? I mean, I feel design is more bigger than that, especially now most of the problems are systematic and complex. Climate change, right? Like, you think about aging, and you think about all this, like, sustainable issues. I feel like designers, like, for me, starting from problem solver, as engineer, and now more I've become like a translator, curator, or even, like, a culture shaper. How do you shape the culture you want, right? Especially now, like, AI it's just, like...that really let me rethink about my role as designer, you know, because everyone can have tons of ideas, but the truth is, like, we have so many ideas, but do you know what good taste is about? Do you know what the good qualities of life's about? So, you have to have some personal experiences to really help people to understand or curate the vision in the future. SAMI: That's really interesting. I struggle to dress my kids in the morning from a design perspective, right? I don't get colors, and I don't understand necessarily how they match and how to get things working. In fact, sometimes I'll dress my kids only to find that my wife has redressed the kids. Things are that bad at home. Do you think then design is something which can be taught, or is it something, like, innate? Is it something, in your own experiences, that it's kind of part of your nature? So, you see the world differently to someone like myself or Jared sees the world. Or could that be something which we could pick up on, you know, and learn about? SHENG-HUNG: Yeah, I definitely think design can be teachable. It's skillable. And I feel like, yeah, people talk about this is, like, a hardcore skill. It's a soft skill. No, I think design is a life skill. It's a human skill. So, that includes like, for example, like, yeah, how do you choose the color? How do you choose the clothes for kids? But also about, like, how do you celebrate the quality of lives, right? How do you, like, have better, like, qualities? And I feel like, I don't know, life skill means, like, team building, creative leadership, knows people, listening to people. And, for me, that's part of design because you're decoding different signals. You understand your life. You perceive different types of noises. Or how do you resonate with other people? And that's a life skill, I think. And I also feel most of the design skills I learned is actually not from school. It's from, like, personal life failure [laughs]. SAMI: That's really interesting. I just want to jump in because I don't know if I fully understand what you mean by signals. Can you just elaborate on that a little bit more? And then, I will bring you back up on personal failures. SHENG-HUNG: Signal is like different ways of seeing things, right? So, for example, like, if I go to wait in line for a free bagel, right? You share this with your friends. What I see is it's a free bagel. But what my friends see is like, oh, probably, like, I don't need to wait in line and so many challenges. You know, I have to, like, oh, why should I get this? But I see very clearly I want a free bagel. So, these are different. It's the same thing but different message mixed up, right? And then, for me, I see design, like, it happens every day. It's a life skill. For example, like, I saw the challenges, but what if we think another perspective to rethink about what kind of challenge [inaudible 06:38] or reframe the right questions, right? And all this, like, mixed all together, it feels like it's not just about drawing beautiful sketches or rendering sexy, you know, ideas. It's all about, like, how do you frame these challenges? How do you look at this? Can you see the question from social aspect, from cultural aspect, or you just see this as a solution-driven approach? JARED: In some cases, I feel, there is an element of subjectivity to the designs, but then we also want to measure the success of a design. Do you have any tips for, like, how you go about putting numbers to what defines success for a particular design? SHENG-HUNG: This is such a great question, especially now my research focus is really on services, you know, service design, experience design. Like, how do you quantify this, right? For example, three of us we go to the restaurant, and I feel it's really, really great restaurant. And probably some people feel no, that's not really great. And then, how do we quantify this, right? And then, I feel it's sometimes, like, really by personal preferences. It's hard to measure. Maybe there will be some sort of, like, a principle direction or criteria we can follow, so, for example, service quality metrics or something, like, based on people's life experiences. I feel it's hard to measure, especially now the design challenge the question it's really complicated. Some people talk about demographic. How do you, like, [inaudible 08:09] design? Like, for example, a participant design process, right? Or, like, inclusiveness. People talk about equity, power, power dynamic. And I think it's less of a measure or quantify. It's more about do you show your respect? Can we be more inclusive in this process? Can we really engage or integrate multiple voices in this design process? And I feel like that kind of shows the flexibility, also, the real flexibility of the design, not just that, oh, we look for one single solution. Because, most of the time, we actually want to design for a solution, but, actually, I feel now the shift is from we try to build the condition to let people land on this condition and solve the problem. So, in the end, we'll be like, yeah, we landed here, and we can solve the problem together collectively. So, something I feel a little bit different, but that's a great question. It's open-ended. Yeah. JARED: Yeah. Thank you. There's a lot to think about there. I want to bring it back to failure because this is something I think about a lot in terms of teaching and learning from history versus learning from your own failure. We have, like, thousands of years of history of failure. You think we have made all the mistakes already, and, oh, it should be easy, right? All we need to do is teach all of the young generation about all of this failure, and then they'll remember not to do it. But in reality, it doesn't really work that way. I find the strength of the argument is oftentimes weak compared to failing yourself and really deeply learning that lesson. I'm curious about your thoughts on that. And then, I'm also curious to hear about some of your, let's call them, best failures. SHENG-HUNG: I personally feel like people fail. They fail forward, not backward. So, even if you fail, you move a little bit. It depends on how crazy, right, and how fast you fail. It's an iterative process. The reason I say learning from failure because from traditional Asian family, Asian students, right? Probably in the past, I would say I raised my hand. I want to learn, or I ask senior people. I want to learn. But, actually, more than that, it says, "I want to experience. I want to be part of it," right? So, you're not becoming the manager because you learn to become a...no, you're in that position, and you learn to be a manager. So, I learned that mindset when I worked at IDEO. And one of the senior design directors told me, "No, you should say, 'I want to experience.'" So, that means that you have fully immersed experiences. And one of the best examples for me is that the first two years I worked at IDEO and IDEO Asia, supporting projects in Tokyo, Shanghai, Singapore offices, and sometimes European, like, office work; the first two years, my confidence almost collapsed. I have to collect my confidence. It's so hard because I'm eager to learn so many things. I didn't beat myself. And then, after two years, I met an amazing, like, design mentor. And I started the things I'm good at as product designer, a tangible designer. I start as product-focused and thinking about whole design process. And then, I start to collect my confidence. And I realized every single project at IDEO or in my life it's a vehicle, you know. And then, you always connect the dots when you're looking backwards. And you realize, oh, this is failure. Let me know what do you mean by client management? What do you mean by, like, teamworking? Because everyone is from so diverse background. And everyone says, "I'm a designer," but they have different interpretation. And how do you communicate it, right? And how do you keep the conversation transparent and also effective, and how do you empower people? And I feel because of that connect the dots process, also, all the things I want to learn, I want to experience it really helps me to grow at the third year or second year in IDEO. And that really makes me think about, oh, wow, I didn't know. I failed completely. And that's really healthy, for me, because you become very strong. At some point, I started to realize, oh, what do you mean by...what does it mean by design consultancy business? What we can sell. Where's our capacity, our limitation? You know, other than just, oh, everything's, like, imaginative conceptual. I kind of know what happened, and I know the boundary. And I know how can I empower people and also the client. SAMI: Yeah, embracing failure is a real strength. At thoughtbot, we kind of...if we're developing products and we're, let's say, designing or coding, whether websites or applications, we have this concept of failing fast. So, the faster you can fail, the quicker you can iterate towards the right solution. And that's something which is difficult to embrace because the first time you do it, I want this to be perfect, and I want to build it in the way that it works. But, actually, you'll spend a lot of time trying to get towards that perfection, and it's much better to ship faster, fail faster, and then get towards the solution. I noticed as well that...well, I read that the one thing you've been recently working on is designed for the aging population, so more specifically, smart homes for the aging populations. Shout out to my parents if they're looking for a smart home. Sorry, mom and dad. SHENG-HUNG: [laughs] SAMI: I've always found, especially my generation, so I'm about...I'm not about; I am 32 years [chuckles] old. So yeah, there's always been, like, a big gap between kind of my generation, the way we've engaged with technology products, the way my parents' generation have been able to. And I imagine a future where my kids are running around in VR headsets, and I'm still, you know, using a basic laptop. I would love to know more about your work kind of in this area and designing for a different sector of the population. SHENG-HUNG: My master thesis and my master project is focused on redesigning, like, smart footwear for aging population, and then that's part of the smart home ecosystem. And I was actually impressed and surprised. It's like most of the sponsors or clients we talk about, like, people [inaudible 14:38] to think about just the product level, so smart like [inaudible 14:43], smart like a door, or smart like, you know, like a bed or a smart, like, alarm clock. People start to think about how can we integrate all this system together? Because, like, for example, if you bought Amazon, you know, versus Apple and all these different devices, the platform is really a problem because the products cannot communicate with each other. And we want to make sure all the products can communicate and support you, or, like, they can at least receive your data or information to give the appropriate response. So, the smart home project starts to think about from ideas to become more like platform integration. IKEA is the best example, right? Like, I think two years ago, they talk about, yeah, they launched their first app, right? Everything is, yeah, it seems like, oh, what's the big deal about this, right? No, but you think of this from the intention perspective to actually connect the whole system together because they want to make sure their internal designer, developer they really can think through their own internal system to make sure everything's connected, interconnected, not just, oh, you do a part of this. We sell this to a certain Asian, and it didn't really connect. So, I feel like when we designed it, it's really from the system perspective to talk about a smart home. And then, regarding of, like, design across [inaudible 16:04] generation, that's really important, actually, because especially now I'm focused on design for retirement. And I shifted to design for longevity. And then, the cool thing about this is, like, we think about our life in terms of age, but, actually, now we need to think about our life in terms of different life stages, different lifestyle. The book called "Stage (Not Age)", means, like, now we cannot even describe people above 100 years old or 85 years. So, we call them future hood, right? So, like, different life stages. And I feel like that really impacts, as designers, the way we design products or interfaces, right? And it has to evolve with people. When you say, for example, if we have, like, a smart, like, a robot in our home, they have to know your personal routine. And you kind of grow, right? For example, oh, I get older. I move slower, or my mobility is different, and it changes. How does that mean to our product or our smart services? And I feel like across different generations, it's really thinking about design for different people in different life stages. And that's really important, not just about financial planning or about your future education, family, community, right? Now people are probably thinking about aging in place. My parents just bought a second home. They're thinking about retirement life. And so, these are things that really impact all aspects of life. And I feel like the idea of one solution for all the era is kind of over because we have to think about not just one solution, multiple solution tailor-made for multiple different people in different life stages. MID-ROLL AD: Are you an entrepreneur or start-up founder looking to gain confidence in the way forward for your idea? At thoughtbot, we know you're tight on time and investment, which is why we've created targeted 1-hour remote workshops to help you develop a concrete plan for your product's next steps. Over four interactive sessions, we work with you on research, product design sprint, critical path, and presentation prep so that you and your team are better equipped with the skills and knowledge for success. Find out how we can help you move the needle at: tbot.io/entrepreneurs. JARED: And, Sheng-Hung, in one of your articles that I was reading about design for longevity, you sort of say that design for aging isn't just about designing for older people, but rather, I think one of your colleagues asked this question, which I really liked, which is, how can inclusive methods build elegant design solutions that work for all? And I find that a really aspirational goal. But one of the things, say, at thoughtbot, when they're building a product, so we often talk about targeting a specific niche or a specific user base because then we can really optimize for them. And so, you're designing something that's elegant, and that works for all. It doesn't sound very easy. It sounds like a good challenge. And I'm curious about how do you go about that, and do you have any examples you can you can share? SHENG-HUNG: Design for all elegantly also seamlessly. Optimize everyone's needs or, like, design process. I feel...because my topic is focused on financial planning, right? And I think about everyone's income level is different. Their investable income asset is also different. We have a different situation, right? Our family issue, the healthcare condition is also different. And I feel like that, also, if we look at this question, we should think about, okay, how do we define design for all, right? Is it universal design, or is it inclusive design? I think there are definitely some, like, basic or fundamental, like, foundation or criteria we need to meet. Like, for example, human-centered, right? Or, like, we think about accessibility for certain technology. What's the threshold for a certain way of use the technology or product? That could be, like, a universal or, like, basic. Like I said, people's life stages are so different. And can we really make sure our product or interfaces is always dynamic, always change? Design for transformation, right? And I feel the ideas of changing is kind of scaring for most people. Because you don't want to, like, you woke up, and you realize your iPhone just update the whole interfaces, and you suddenly don't know how to use it [laughs]. It changed too dramatically. What I mean by change is like, it's a gradual integration process. And I feel that's kind of beautiful. Like, for example, the way I use my bicycle, the biking, right? They can ultimately adjust my speed, recharging, or understand my personal preferences. That could be something I think is powerful for future for providing the right solution, yeah. But also, it's a benefit of this, but also, there's downsides. Like, maybe because of that, we all live our own personal bubbles pretty well, right? Like, oh, yeah, yeah, I read a newspaper. No, you read the newspaper that I curated for you. So, somehow, the information started different [laughs]. So, there's a gap, but I don't know. It's very cool. It's very great, great question. I think there's still...I don't have the exact same answer, but I feel that could be potential for now. Yeah. JARED: Yeah, I really like that. So, it's not just a one-size-fits-all-all, but, like, it's a sort of an elegant transformation over the course of someone's life. We've discussed a few different things like design for longevity. You touched on there, as we were speaking, human-centered design. I know you've made a distinction of humanity-centered design as well, and there's also life-centered design. I wonder if you could give us and our listeners a little rapid-fire explainer of each of them. SHENG-HUNG: Like, when we talk about human-centered design, right? Like, it's, like, a buzzword. And everyone talks about HCD, and most people think, oh, if you got a post-it note, you're, like, a HCD designer. No, like, what does that mean, right [laughs]? It's very cliché. And they're like, oh, yeah, all these, like, HCD designers bring the post-it notes with Sharpies and go to facilitate tons of workshops, and they sit and know people. And I feel it's more than that, right? Human-centered is really, like, put yourself, designers, in the shoes of clients, users, customers, and participants to know their needs, their desire and address their pain point. And I think for human-centered design like Don Norman said in his latest book, it's not just about design as a discipline. It also covers, like, politics, covers, like, ethical issue, culture. It's broader. And, for me, the simplest version is, like, you design with care. You design with human temperature. We create technology with human temperature. That means that we're now for this technology to [inaudible 23:13] technology. We know why we need that technology. So, for example, if you provide the, like, the cell phone to the developing countries, you probably don't want to send, like, the latest cell phone. You want to send them, like, the adequate technology. What I mean by that is like, it's very, like, stereotype, but I'm trying to explain the idea is like, oh, Nokia could be a great option at this point, for example. You can communicate. You don't need, like, crazy, like, AR VR function. You at least can communicate. So, it's adequate. I think that kind of lens is, like, you think about the culture, the needs, economic, social status. And then, you can start to move on and upgrade the devices. And I feel like life-centered is even broader. It's like, can you design something to the lens of cats, your pets, your animals? So, it's really like, it's really...it sounds a little bit like a speculative design. But the truth is, like, we can shift our perspective to different kinds of species, cross-species, not just focus on human, because everything we design definitely starts from also for a human being. But now life-centered is like, it's longer, broader. And then, for me, it also means like, we just talk about life-centered. It's like, really think through all different stages of life, not just, like, focus on one single age or a single stage, too specific, too narrow. It's, like, broader. So, when we talk about life-centered design, LCD, we really think about a lot of different systems, framework. What's the model we can follow? You know, so we're also thinking about policy, about power dynamic, government, ethical issues. So, this, I think, like, it's broader, and it's really large. Sometimes it's pretty vague, for sure. We have to use some cases or really think about in different contexts. Context is really important, designed for different contextual knowledges and needs. SAMI: Yeah, I think that is actually a really helpful understanding. Myself I don't know anything about those concepts, so to kind of get that theoretical understanding and explanation from yourself is really helpful. In a more practical sense, I have a question, which is a very selfish question. The reason it's a selfish question is because I want to know what do you think? When you look at the world through your designer lenses, what do you think is the worst-designed product you've ever seen or come across? And I think I know the answer to this. I think there is a right answer. While you have a think, I'll share my answer. I don't know if you have this because you said you're based in Boston at the moment. And I'm showing you because we're on camera, but I will describe it to the listeners as well is what they've done with bottles now is when you open, like, a Coke bottle, for example, all other beverages are available...Coke, if you want to sponsor us [laughter], we're happy just to mention you. When you take the bottle cap off, it's now connected to the top of the bottle. So, someone has decided...now, I understand the reason behind it. They're saying that it's for recycling. So, when you throw your bottle away, make sure the cap goes with the bottle. But someone has sat there, and they've designed the bottles. So, when you take off the cap, it's still connected to the top of the bottle. And countless times, I'm either pouring into a cup or pouring into my mouth. And that cap is getting in the way. So, the liquid kind of goes into that cap, and it spills on me, or it spills on the table. This is an absolute design failure, a catastrophe in my eyes. That's my worst design that I've come across in real life. Do you have anything you can think of that you look at, and you're like, who designed this? SHENG-HUNG: This is such a great example because I did have similar experiences when I went to Milan Design Week last year. All the plastic bottle is, like, connected. The cap connects with the bottle. And I didn't know that it's on purpose at the very beginning. I thought, how come it's, like, connected? I want to take it out because it's easier for me to drink. And I realized it's not just this one; all of them is the same [laughs]. Yeah, that's a great example. I think, for me, design for failure adapter, for example, you know, adapter, like dongle, right? Like, we have so many different...this guy HDMI cable, the cable for iPhone, and the magnet for my Apple MacBook Pro. That's painful because you try to find, like, when you go to, like, a talk or a speech or try to present something, I think, for me, the easiest way is, like, AirPlay, right, Wi-Fi or Bluetooth to connect to the projector. But in reality, you always need this HDMI cable. And this guy connects with my Mac. There's some problem. It depends on...now I always bring my adapter with me. It's just like, we have that [inaudible 28:04] like, you know, it almost, like, very frequently, if we're meeting, you have to show your screen. How can we design less physical but it's user-friendly, right? People use Mac. People use Apple, use, like, Microsoft. How do you design something like a universal adaptable to everyones, just sharing screen? This is what I need. So, I think this could be one bad design, I think, at this moment [laughs]. SAMI: Yeah, that's a great example as well, and so frustrating. And I wonder if it's, like, a money-making scheme, you know, everyone has their own chargers. And that's a way kind of they make some income as well on the side. Jared, what have you seen in the world? What's your pet peeve? What really grinds your gears? JARED: This was easy for me. It came to me straight away. Any door that has a handle that you can wrap your hand around which signifies it should be pulled that is push. It's just, I mean, what is going on there? It drives me bonkers. SHENG-HUNG: [laughs] SAMI: That is brilliant. I think it's only fair if we flip the question, right? And then, we say, what's the best thing you've seen designed, right? There must be something out there where you've gone, "Oh, that is so useful. That makes so much sense. Why haven't we done that until now?" And have you kind of...I guess this is for Sheng-Hung, like, have you got any inspiration from that sort of thing? SHENG-HUNG: I have to be honest. Like, I really feel like in the past, I'm kind of scared about, like, use your face to unlock your phone. But the more I use it, I feel like, oh my God, this is so convenient. You just look at it. I know it's a bit scary because they have all your biometric data information. I know even you protect under the regular law, but still, I feel like, yeah, it's so seamless connected. And I feel maybe the better answer is like, I feel a great design is, like, to reduce the friction between the transition of devices by devices, right? So, for me, I mean, so interface by interface. So, when I share the data on my phone, what does that mean? From phone to my computer or phone to other people, right? All the different interfaces changing. The less friction, the better. I feel seamless connected. So, you know, AirDrop, super convenient, photos, videos with people, Mac users. But what does that mean for, like, Windows users, right? And so, every platform has their own, like, spec, or criteria. And I feel if the user can feel the seamless friction between these interfaces, for me, that could be a great design solution. JARED: I love that answer. And I love that description of reducing friction. It reminds me a little bit of, I think, my favorite book on UX is by Steve Krug, which is "Don't Make Me Think." And it's just all about doing the simplest thing, reducing confusion, overcoming objections, and reducing friction. So, I really love that. I do have an answer for this one as well. It's a little bit selfish or focused on my own life. So, I have a dog. She's a Welsh Terrier called Rosie. She's just turned one. Whenever we used to go out, you've got to take water for her if it's a hot day. I always used to take a bottle, whether you could unscrew the top or not, I'm not sure, Sami, and, like, a little bowl to put that in, or you use your hands. And, invariably, she's not going to drink all of the water, so you've got waste. You throw that out. The bag gets wet, all of that. Someone has designed this really cool bottle where the top is actually the bowl. It's an all-in-one. And you press a button; the water goes into the bowl. She drinks. Whatever's left, you press the button again, turn it upright. And the water just flows back in into the rest of the bottle. It's such a simple thing. But, like you say, it just reduces that friction. Anytime a problem no longer exists, manual to automatic cars, fight me, I'm all for it. Well, that's a problem solved. That's less friction. That's beauty in the world. SAMI: Yeah, I think it's amazing. When you think about these examples, it really brings out how much of an impact design has. So, you can have the best product in the world, but if you don't get that frictionless design, or you don't get that design that's going to really bring that improvement, it's going to be difficult to make that product a success. And I think there's some, like, when I think about leaders and innovators in this kind of space, so I know you already mentioned IKEA and I think of Apple. And I don't know the answer to this, and maybe our listeners also wonder, like, how do these companies...they seem to keep getting it right. No matter what happens, they seem to set the trends, and they get their design spot-on, and they innovate in that space. How are they so successful in their design? SHENG-HUNG: I think a recent example is like, you know, like, Apple just recently launched the Vision Pro, right? The XR, the goggles. And put the demo time 30 minutes to get in-store experiences. You're booking the demo time with them, the 30 minutes. For me, I wrote an article about it. It is less about the goggle itself. It is about the whole experiences. The time you enter the store, right, and then you're waiting there, who guiding you? The Genius Bar people guiding you. You sit down. You have the prescription and your glasses that get measured, scan the QR code, and find the match [inaudible 33:35] pair of goggles that fit your [inaudible 33:37] of your face. And they put it on. They sit on the side, use the iPad to guiding you, and tell personal experiences or stories. These companies are very design-driven, vision-driven company. They really think about the whole experiences of users, right? And, for me, it's too pricey, for me, the product, obviously, right now. But I have very delightful, positive experiences because of that 30-minute demo. So, I kind of plant the seeds in my heart. Oh, if the second generation or something have discount, I would definitely want to get one for myself. Not really because...it's a great design for sure, but also, the impression I have. And I feel that really, really, like, make a difference, right? It's tiny. It's very subtle. They can, "No, we don't have, like, demo experiences." They can just purely sell the product. But I think they sell something bigger than just product. Branding user experiences, delightful experiences. And I can really feel that, and that's really powerful in the end. JARED: Do you think that that sort of level of design is limited to the companies that can afford it like the big names? Like, obviously, there is a cost dedicated to having the time and to putting the resources to that. Is it always just going to be the big players, or are there things we can do to democratize that availability for the startups, for the SMEs? SHENG-HUNG: I actually think it's about a company's culture. So, another example I would love to share is, like, when we did, like, an inspiration trip in Tokyo, and there's a very famous, like, chain bookstore called Tsutaya bookstore or Tsutaya electrics. So, to my surprise, like, yeah, it's a big bookstore, and we probably think bookstore selling books. No, they're actually selling a lifestyle. So, for example, like, if I want to buy the book around how to use a camera, right, the way they curate it, it's like, yeah, we do have the books around camera, but also, we'll put the real camera, like, near the book. So, they curate the whole experiences. You flip the book. Oh, this is so cool. Thanks, I want to try it. You probably, in the end, you got both. So, very interesting and also very human-centered, like, retail experiences. Why did I say culture? Because when I entered the store, I asked for one book I was looking for. The staff came to me, and she bring two books to me. One is the book I want, unpack. And one is the book...it's the same book, but without the plastic cover. It's brand new. And why she brought two books to me because if I want to buy this book, I not only read inside, but also, I can just get the new one with me to check out. And this is so subtle, right? Because they're not just bringing you, like, the sample. They also bring the final product with you. So, I feel that kind of culture is, like, very strong, customer-centered, think about your needs, think about your next step. So, they kind of plan ahead, and this is so strong message to me. Oh my God, this is such a great design culture, or at least a human-centered culture to think about my needs, my decision-making process. So, I feel connected with that, and I feel like, yes, they have money, but also, like, they really cultivate that culture within the...not just...they also send a message to their customers. SAMI: I feel like, Sheng-Hung, we could speak to you for hours. I mean, you are opening my world and my eyes to a different world of design. I've got one final question for you before we wrap up that I wanted to cover. I've seen from your website, like, you've personally designed products. So, out of all the products you've either designed yourself or you've been involved with, what would you say, and could you describe for us your favorite product that you've designed yourself? SHENG-HUNG: I think my favorite product is, like, I help and re-design, like, Shanghai Library Innovation Space that, for me, is OMG. Oh my God. It's crazy. Like, one single team, my side project and collaborate with the full staff, librarian, the leadership team. What is powerful is, like, library for them in Shanghai, it's a local hub to connect the community and also to teach, to learn for the younger generation how to use the space. For sure, most people use that space for, like, self-studying, you know, activity and all this stuff. But, for me, like, it's so impactful because every single change that means a lot of impact because it's a public space. And also, it's really, really powerful. Like, you think about the decision-making process. You have to think about feasibility, viability, and also desirability, all things to connect together. And it's really hard, not easy process. It took me about a year-long project. And I'm really happy because, in the end, it's really from sketches, concept, prototyping models, all the way they rebuild, modify the design, integrated. And now the new library they build on another area of Shanghai is really based on this model and framework. I'm very happy, and I also feel like, yeah, design can make a positive impact. It's not like a concept. It's real. And it's nice. It's painful, but it's really satisfying, yeah [laughs]. SAMI: That's really cool when you get to a point where you've done something, and then you see people using what you've designed and, like, enjoying that space and benefiting from all that hard work that you've put into. I have to thank you so much for joining us and giving us time today on the Giant Robots On Tour Series of the Giant Robots Smashing Into Other Giant Robots podcast. Our listeners don't know, but you've had about two hours of sleep. SHENG-HUNG: [laughs] Yeah. SAMI: So, it's probably time for you to get back into bed yourself. But that is your dedication to us. It's been an incredible episode and an incredible chat. I finally understand why Jared does not like doors. I myself, you will understand if you see me in the street and I'm tearing a bottle cap off of a bottle, you'll understand why. And we need to sort Sheng-Hung out with more adapters with just a single charger for all his devices. If people want to get a hold of you, Sheng-Hung, where's the best place they can reach out after listening to this podcast? SHENG-HUNG: Yeah, definitely, you can reach out through my personal website portfolio. Yeah, shenghunglee.com. And I'm happy to respond and discuss about design-related topic. Thanks for having me on this podcast. It's very exciting, and hope we can create all the great stuff for our society. SAMI: Pleasure. There's always a challenge I give to my listeners at the end, and it normally is just please hit that subscribe button. Jared has promised me that he will do a shoey if we can double our subscribers by the end of the series. If you don't know what a shoey is, my only advice to you is do not Google it because you do not want to know. You can find notes and a complete transcript for this episode at giantrobots.fm. If you have any questions or comments, you can email us at hosts@giantrobots.fm. This podcast is brought to you by thoughtbot and produced and edited by Mandy Moore. Thanks for listening. See ya. AD: Did you know thoughtbot has a referral program? If you introduce us to someone looking for a design or development partner, we will compensate you if they decide to work with us. More info on our website at: tbot.io/referral. Or you can email us at: referrals@thoughtbot.com with any questions.

Join Alexandra as she takes you on a journey to the CET Experience, Configura's annual user conference. From her emotional first attendance in 2009 to her current role as a media sponsor, Alexandra shares personal anecdotes and insights into this unique industry event.Featuring interviews with Configura CEO Stefan Pearson and award-winning designer Alessandra Salazzo, this episode explores what makes the CET Experience special. Whether you're a seasoned CET user or new to the commercial interior design industry, this episode offers valuable perspectives on professional growth, industry connections, and the latest in design technology.Also - don't miss exclusive details about the 2024 CET Experience and a special discount code for Design Pop listeners!For $75 off registration to CETX: https://www.cetexperience.com?promo=CETXDESIGNPOP2024Or use the code: CETXDESIGNPOP2024If you are heading to CETX let us know! We are looking for people who want to participate in the pod. Contact alexandra@thedesignpop.comWant to sign up for a free monthly pop webinar in the future?  Follow this link to register. 

In this episode of Fail Faster, we welcome Tim Seward, a trailblazer in industrial design. With a decade of experience working with top firms like Y-Studios and Lunar, Tim has shaped iconic brands such as SONOS, ONYX, and Bird. Join us as we explore Tim's journey from overcoming personal challenges to creating groundbreaking products. He shares insights on blending creativity with engineering, leading with empathy, and the importance of continuous learning in design.

This year marks a significant milestone, as the RSA celebrates 100 years since the inception of the Student Design Awards in 1924 and recognises the innovators from the final round of this iconic programme. On the night, we will also share more about how we have reimagined our awards for the next 100 years, to create greater collaboration around real-world missions, with a focus on learning, connection and funding opportunities for pupils, students, and entrepreneurs.Our 2024 keynote address will be delivered by Andrew Grant RDI. Andrew brings extraordinary experience and perspective as an internationally acclaimed and award-winning landscape architect whose work explores the connection between people and nature. He uses creative ecological design thinking to find solutions to the major challenges of climate change, biodiversity loss and improving human quality of life, health and wellbeing. Each of his projects responds to the place, its inherent ecology and its people, and engages the wider community in the reimagining of our relationships with each other and with nature.Following the address, RSA Director of Design & Innovation, Joanna Choukeir, and our valued partners and supporters will share an overview of each winning project and invite the people behind these inspiring ideas on stage to receive their awards.The ceremony will be followed by a drinks reception in the RSA Benjamin Franklin Room – all welcome!The RSA Student Design Awards is a global open innovation competition that's been running since 1924. We challenge students and recent graduates to tackle pressing social, environmental and economic challenges and propose creative solutions that can shift the system and shape the future.#StudentDesignAwardsBecome an RSA Events sponsor: https://utm.guru/udI9xDonate to The RSA: https://utm.guru/udNNBFollow RSA Events on Instagram: https://instagram.com/rsa_events/Follow the RSA on Twitter: https://twitter.com/RSAEventsLike RSA Events on Facebook: https://www.facebook.com/rsaeventsofficialListen to RSA Events podcasts: https://bit.ly/35EyQYUJoin our Fellowship: https://www.thersa.org/fellowship/join 

Jeffrey Mosher welcomes JT Weis, Managing Director, Rapid Line Incorporated, Grand Rapids, MI. 1. Could you give readers and listeners a brief overview of Studio Wise/Rapid Line and what both companies are bringing to the B2B sphere? 2. Who are Studio Wise and Rapid Line hoping to serve through this new partnership? 3. When it comes to modernizing B2B quoting and getting your products into the hands of your customers with more efficiency, what goals and upcoming initiatives will this partnership focus on? 4. How does Studio Wise hope to leverage its standing within the design industry to accelerate its growth in the upscale hospitality market? 5. The acquisition is part of a broader strategy to diversify Rapid Line's business to now include high-quality products, which will strengthen its model, can you explain the vision behind this? 6. What can Studio Wise and Rapid Line partners expect in the coming months? Rapid Line Incorporated Acquires Studio Wise Design  Major metal fabrication player enters upscale hospitality table market. [Grand Rapids, MI, March 25, 2024]: Rapid Line Incorporated, headquartered in Grand Rapids, Michigan, and recognized as an ESOP (Employee Stock Ownership Plan), has announced its acquisition of Studio Wise Design, also based in Grand Rapids, Michigan. Rapid Line is a prominent Midwest metal component manufacturer operating across various sectors, including office furniture, outdoor furniture, all-terrain vehicles, and medical equipment. “The Studio Wise product lines are of high design and quality. We intend to leverage this and accelerate Studio Wise's growth in the upscale hospitality market,” states Rick Van Dis, Rapid Line President & CEO.  The acquisition is part of a broader strategy to diversify Rapid Line's business to now include high-quality products, which will strengthen its model. Van Dis continues, “Rapid Line has a strong foundation and reputation of on-time service and high quality. Our recent plant automation and equipment investments will support the Studio Wise growth plan.”   Studio Wise is the designer table of choice in many well-known culinary destinations and resorts, including Gordon Ramsay restaurants, Sunda Asian, Marriott Hotels, Hard Rock Resorts, and several other luxury destinations.     “Studio Wise has produced beautifully designed, high-quality products. Over the past couple of years, we've been focused on modernizing B2B quoting and get our products into the hands of our customers more efficiently. Our new platform disrupts the way manufacturers and the architecture & design community quote and specify furniture. This acquisition by Rapid Line will allow us to go much further and truly grow our business to the level we know we can achieve,” Troy Bosworth, Studio Wise founder. Troy Bosworth intends to remain on board to provide consultation and support for the company's vision, with a primary focus on product design and bolstering the implementation of aggressive growth strategies. ### Rapid Line Incorporated is a full-service metal fabrication and contract manufacturer headquartered in Grand Rapids, MI.  More than just metal fabricators, Rapid-Line integrates plastics, wood, fabric, cork, and glass into custom-finished products. Rapid-Line was founded in 1926 and expanded manufacturing space three times with a current capacity of 100,000 square feet of manufacturing space and approximately 100 employees.

In honor of Juneteenth, we welcome Jack Travis, an esteemed interior designer, architect, author, and educator whose profound insights have significantly shaped the design and education landscape. Jack is an incredible storyteller and today, he shares his journey from childhood into the business of architecture. You'll hear about his experiences of overcoming racial barriers and learn his unique framework and approach to design that incorporates cultural identity. Jack's way of thinking will inspire you with a deeper understanding of how architecture and design can reflect and honor cultural heritage and still push the boundaries of innovation.To learn more about Jack Travis, please visit: https://www.jacktravisarchitect.com  Follow Doug on LinkedIn.Click here to get your copy of Doug's children's book—Design Your World.Follow Imagine a Place on LinkedIn.

Introduced by the RSA's President, Her Royal Highness The Princess Royal, an expert panel explores the theme of nature stewardship amidst a climate and biodiversity crisis.Imagine if, in 10 years' time, everyone was a nature steward. What would that world look like?And how can young people, communities, movements, and governments contribute to making that vision a reality?With Kabir Kaul FRSA, 19-year-old conservationist, wildlife writer and passionate advocate for London's biodiversity; Caitlin Turner, marine biologist and policy officer, Sustainable Inshore Fisheries Trust; Rebecca Wrigley, chief executive, Rewilding Britain; and Professor Sir Partha Dasgupta FRSA, economist and author of The Economics of Biodiversity: The Dasgupta Review.Introduction: Tim Eyles OBE, RSA ChairWelcome remarks: HRH The Princess Royal, RSA PresidentChair: Dr Joanna Choukeir, Director of Design & Innovation, RSAThe RSA is itself encouraging the next generation of nature stewards through Playful Green Planet – with a greener, more creative, more community-centred vision for education. Find out more:www.theRSA.org/playful-green-planetBecome an RSA Events sponsor: https://utm.guru/udI9xDonate to The RSA: https://utm.guru/udNNBFollow RSA Events on Instagram: https://instagram.com/rsa_events/Follow the RSA on Twitter: https://twitter.com/RSAEventsLike RSA Events on Facebook: https://www.facebook.com/rsaeventsofficialListen to RSA Events podcasts: https://bit.ly/35EyQYUJoin our Fellowship: https://www.thersa.org/fellowship/join

Archispeak welcomes Scott Selzer, CEO of StruXure, and Scott Smith, CEO of Bromic Heating, to discuss the evolution, current state, and innovations in building products, specifically focusing on outdoor heaters and pergolas. In this episode we talk about these building products in both residential and commercial projects and how they enhance outdoor living spaces. Scott and Scott share their unique journeys, product innovations, the role of technology, sustainability practices, and the importance of integrating designs early in the planning process. Learn more about how to transform outdoor spaces into functional, comfortable, and aesthetically pleasing environments in this Archispeak University episode!Episode Links:Bromic websiteEclipse heatersBromic heater Revit and CAD filesDesign service with a heating expertStruXure website-----Thank you for listening to Archispeak. For more episodes please visit https://archispeakpodcast.com.Support Archispeak by making a donation.

Join host Doug Shapiro "In the ROOM" LIVE from ICFF 2024.  In this two-part series, Doug explores the unique energy and innovation at ICFF - featuring insightful conversations with industry leaders such Amy Devers, Luca Nichetto, and Giulio Cappellini, listeners will hear inspiring stories, fresh perspectives, and valuable advice. Highlights include Amy Devers, discussing the importance of student work and the evolving role of materials, Luca Nichetto's take on balancing tradition with innovation, and Giulio Cappellini's humorous anecdote about Queen Elizabeth II. Let's escape the noise and join us "In the ROOM."Learn more about ROOM. Follow Doug on LinkedIn.Click here to get your copy of Doug's children's book—Design Your World.Follow Imagine a Place on LinkedIn.

Join host Doug Shapiro at ICFF in New York City as he kicks off the new series, "In the ROOM," part of the Imagine a Place podcast. Inspired by the innovative ROOM products, this new series offers intimate, on-the-scene experiences from design events across the country. Be sure to tune in next week, as Doug chats with design luminaries Giulio Cappellini, Luca Nichetto, Susan Lyons, Amy Devers, and many more, to discover fresh insights and personal takes on the latest in design. Don't miss out—step "In the ROOM" with us! The debut episode of "In the Room" airs on The Imagine a Place podcast feed on Tuesday, May 28th, across all major podcast platforms.To learn more about ROOM, please visit room.comAre you in NYC and want to check out ICFF? Imagine a Place invites you to be our guest! Click here for a complimentary pass.        Follow Doug on LinkedIn.Click here to get your copy of Doug's children's book—Design Your World.Follow Imagine a Place on LinkedIn.

What do you get when you survey 70 designers and challenge 10 of the leading minds in design? You get "Game Time," an entertaining and insightful exploration of design concepts and trends.Join host Doug Shapiro in the latest creation from Imagine a Place Productions – a unique game show that merges engaging discussions with exciting gameplay! In this innovative format, two teams, composed of some of the industry's leading minds, go head-to-head in a lively debate and competition. Watch as our participants use their knowledge and wit to compete, all while diving deep into the issues that shape our spaces and lives.Don't miss this blend of competition, discussion, and discovery. Tune in to see who comes out on top in the ultimate design showdown! Watch now! Featuring: Ronnie Belizaire, HKS Erika Moody, Helix Architecture + Design Mark Bryan, Future Today Institute Cheryl Durst, International Interior Design Association Bill Bouchey, Gensler Stacey Crumbaker, Mahlum Architects Inc. Mike Johnson II, Hickok Cole Joe Pettipas, ARCADIS Ana Pinto-Alexander, HKS Abby Scott, HDR Follow Doug on LinkedIn.Click here to get your copy of Doug's children's book—Design Your World.Follow Imagine a Place on LinkedIn.

In this episode, Doug Shapiro sits down with author, podcast host, and thought leader, Rex Miller, to explore the true essence of hospitality in the workplace. Together, they discuss how incorporating hospitality-style design without genuine hospitality experiences creates a disconnect in modern workspaces. Through engaging stories and examples, they reveal how companies like GoDaddy and CBRE have successfully integrated real hospitality to transform their environments and enhance employee interactions. The conversation also previews Rex's upcoming "Future Travelers" event, aiming to reshape perspectives on work and wellness. Subscribe to The Resilience Lab (an Imagine a Place Production) Follow Doug on LinkedIn.Click here to get your copy of Doug's children's book—Design Your World.Follow Imagine a Place on LinkedIn.

In this episode recorded live in Austin at SXSW EDU 2024, Dustin chats with Don about the unique work of the Education Design Lab and their approach to help build a smarter ecosystem that better serves the needs of learners, employers, and institutions.Guest Name: Don Fraser, Senior Vice President of Design & Innovation at the Education Design LabGuest Social: LinkedInGuest Bio: As the Education Design Lab's Senior Vice President, Design + Innovation, Don is responsible for measuring and driving innovation and emerging programs at the Lab, as well as strengthening the Lab's reputation as a leader in equity-based, human-centered design and the design of scalable education + workforce solutions. Don is instrumental in identifying strategic partners to amplify the Lab's design work and associated products and building ecosystem partnerships and employer relationships.Don is a nationally recognized expert in postsecondary planning and college success. He has an acute understanding of the learner experience, as well as ways in which schools across the K-16 spectrum can develop innovative programs in order to foster learner success and increase economic mobility, especially for those from historically underrepresented populations. He believes deeply in the combination of technology and interpersonal relationships as a means to improve learner outcomes. - - - -Connect With Our Host:Dustin Ramsdellhttps://www.linkedin.com/in/dustinramsdell/https://twitter.com/HigherEd_GeekAbout The Enrollify Podcast Network:The Higher Ed Geek is a part of the Enrollify Podcast Network. If you like this podcast, chances are you'll like other Enrollify shows too! Some of our favorites include Generation AI and I Wanna Work There. Enrollify is made possible by Element451 — the next-generation AI student engagement platform helping institutions create meaningful and personalized interactions with students. Learn more at element451.com. Connect with Us at the Engage Summit:Exciting news — Dustin will be at the 2024 Engage Summit in Raleigh, NC, on June 25 and 26, and we'd love to meet you there! Sessions will focus on cutting-edge AI applications that are reshaping student outreach, enhancing staff productivity, and offering deep insights into ROI. Use the discount code Enrollify50 at checkout, and you can register for just $200! Learn more and register at engage.element451.com — we can't wait to see you there!

In today's episode, we sit down with Aaron Estabrook, Director of Digital Marketing and Media Strategy at OFS, who shares compelling insights on building a personal brand that resonates and stands out in a crowded market. Together, they explore the impact of personal branding on career advancement, the psychological barriers professionals face, and practical strategies for overcoming them. Aaron offers actionable advice on how individuals can express their unique values and skills, enhancing visibility and connections within their industry. This episode is an essential listen for anyone eager to elevate their professional profile and forge meaningful connections in the design world. Whether you're an emerging designer or a seasoned professional, you'll find valuable lessons in building a brand that truly represents who you are and attracts the opportunities you seek.Register for Aaron's Pop into Excellence personal branding workshop here. Learn more about The Design POP into Excellence event The Design Pop is an Imagine a Place Production (presented by OFS)Connect with Alexandra on LinkedInFollow The Design Pop on LinkedInLearn more about Alexandra Tseffos and The Design Pop

The rigid, plastic T-shaped intrauterine device (IUD) has been available for over 40 years, with little to no innovation. Insertion is painful and involves numerous painful steps, and removal requires bothersome dangling strings, which are a nuisance for women and their partners. Most importantly, the pain associated with insertion and removal is widely known, leading to a nearly universal fear, particularly among younger women, of selecting an IUD. This ‘fear factor' is a significant barrier that prevents women from adopting one of the most effective forms of contraception. 3Daughters' goal is to eliminate this barrier to adoption and radically transform the IUD experience for both practitioners and patients.Mary Beth Cicero, CEO and co-founder of 3Daugthers, joins this episode to share how their innovative design forms a small frameless magnetic IUD that self-assembles in the uterus and conforms to a women's body – with no strings attached. Through technological and scientific advancements, 3Daughters is addressing the pain and resulting ‘fear factor' of IUD insertion.Alongside experienced co-founder Shelley Amster, Mary Beth discusses how in just two years the company has already made significant progress to translate their novel approach. With a comprehensive system and high-performance team, there is a belief within that this could be the first billion-dollar women's health product. Big problems require big vision thinking, and it's clear through this conversation that this is a team brimming with the passion and perseverance to realize their goals. As a seasoned consultant and marketer, Mary Beth offers some welcome insights as to what it takes to build a solution when those around you might not share the same optimism. #IUD has been trending for the wrong reasons and 3Daughters is on a mission to change the status quo. If you're ready to be informed and inspired, then listen in.

Is the private office taking on a new and important role? Is it time for the private office to be reimagined? In this special episode, Doug shares part of a conversation we captured between designer Brian Graham and our very own, Molly Prior. Together, Brian and Molly chat about the rapid shift in management styles that might challenge the traditional use of the private office - from a more hierarchical environment to a more inclusive and flexible space that can encourage open dialogue and create a sense of equality.  But, what might that look like for the future of private offices and workspaces in general?  Hear more from Brian Graham on this new take on the private office.  Watch here.  Follow Doug on LinkedIn.Click here to get your copy of Doug's children's book—Design Your World.Follow Imagine a Place on LinkedIn.

Alain Visser is the founder and ex-CEO of Lynk&Co. (CEO at the time of the recording.) He brings over 35 years of global automotive executive experience which we dive into, going from mobility, design and launching a new brand in a more traditional environment.

Hosts Victoria Guido and Will Larry are joined by Trent Walton, CEO of Luro. Trent shares his journey into the design world, from his early fascination with typography and logos to co-founding Paravel. This agency later evolved into creating Luro, a no-code solution for building design systems and tracking their adoption across products. Trent emphasizes the importance of understanding the materials one works with in design and development and stresses the need for a holistic approach to product building. This approach blurs the lines between disciplines, encouraging a generalist mindset over specialization. Luro, as a product, stemmed from the realization that existing design systems often fell short in adoption and application, leading to a search for a more integrated and comprehensive solution. Trent outlines the functionality and vision behind Luro, explaining how it serves not just designers and developers but entire organizations by fostering better collaboration, documentation, and understanding of design decisions. Luro aims to streamline the creation and maintenance of design systems, making them more accessible and manageable, even for teams facing resource constraints. By incorporating performance, accessibility metrics, and the ability to track component adoption and integration, Luro provides a platform for continuous improvement and alignment with organizational goals. Luro (https://luroapp.com/) Follow Luro on LinkedIn (https://www.linkedin.com/company/luroapp/), YouTube (https://www.youtube.com/channel/UCsS9BEmX1NPBXkbaLGcMZlw), Discord (https://discord.com/invite/aNEdjnR6A5), or Instagram (https://www.instagram.com/luroapp/). Follow Trent Walton on LinkedIn (https://www.linkedin.com/in/trent-walton/). Visit his website at trentwalton.com (https://trentwalton.com/). Follow thoughtbot on X (https://twitter.com/thoughtbot) or LinkedIn (https://www.linkedin.com/company/150727/). Become a Sponsor (https://thoughtbot.com/sponsorship) of Giant Robots! Transcript:  VICTORIA: This is the Giant Robots Smashing Into Other Giant Robots Podcast, where we explore the design, development, and business of great products. I'm your host, Victoria Guido. WILL: And I'm your other host, Will Larry. And with me today is Trent Walton, CEO of Luro. Luro is a no-code solution to build your design system and track adoption across your entire product. Trent, thank you for joining me. TRENT: Oh, thanks for having me. It's great to be here. WILL: Yeah, I can't wait to dive into Luro and get to know more about the product. But before we go into that, tell us a little bit about yourself. I know you're based out of Texas. TRENT: Yeah, I grew up, lived here my whole life. I'm in Austin with the other co-founders, Dave and Reagan. Been a designer probably all my life, always been interested in, like, typography and fonts. When I was little, I used to buy badges for cars from swap meets and take them home, not because I needed, like, I had a car I was building and had any interest in, like, sandblasting or building an engine. I just liked the typography, and the design of the icons, and the logos, and all that kind of thing. And so, now it's evolved into me just being, like, a type aficionado and a graphic design aficionado, and then that evolved into, especially when I discovered the web in the early 2000s, building and designing websites with Dave and Reagan, who I mentioned. And so, we had an agency called Paravel early on and had a lot of time putting into practice kind of that design and development and building for the web. VICTORIA: So, your first interest in design came from, is it a car engine? Is that what I heard? TRENT: Well, yeah, my father is a mechanical engineer, and so is my brother. And they work on cars, have classic, like, old Mustangs and Cobras and things that they build in their spare time. And I have no interest in that kind of work [laughs] but grew up in that environment. And, you know, pre-internet growing up in the '80s, one of the things that really got me was the aesthetic and the design around those kinds of muscle cars, so, like, old Shelby or Cobra or Mustang Ford ads, just, I really got into that. So, I'd buy, like, car manuals for a few bucks, or if there's a Mustang Cobra and there's a cool, like, chrome snake logo with a condensed uppercase typeface or some sort of lettering that says, you know, "Shelby Cobra." And that's when I realized [laughs] where my interests lie. You know, engines are cool. They sound cool. Fast cars are cool. But I was just totally, you know, enamored with the typography and the design aspect that surrounded those things, and then it just kind of evolved from there. Anything else I could get my hooks into, I picked up on. VICTORIA: I love that because when I talk to people about design, for folks who don't have a background in it, they kind of think, oh, design, that's logos. You know, I'm redesigning my house right now. My husband is like, "Oh, it's picking the tiles and the colors. We can do that." And I'm like, "No, like, design, there's a lot more to it. Design is everywhere." Like, you can find design inspiration from car manuals [laughs], it's so funny that you bought those, or from random logo design and actually, like, really good design. If it's something that's designed well, you probably don't even notice it. You just flow and use the space or use the app as you're intended to. TRENT: Yeah. And I also think that getting inspiration or starting ideas out from anywhere but the medium you're working in might be a nice little trick to bring some, like, naïve, fresh perspective to things. So, I try to go back to that stuff as much as possible. I have heaps of manuals I've bought off of eBay in recent years, yeah, things you wouldn't think you'd find on, like, you know, whatever, a graphic designer's bookcase, just anything to sort of break the monotony or break my own little lenses of what a website should look like, or what a logo or a brand should look like, how to step outside of that a little bit. But it's funny because it really does go back to that initial sense of wonder I experienced at those really just, you know, we're talking, like, in a gross, swampy field in Texas with, like, funnel cakes being served at every corner, like, not the most slick, rad graphic designy vibe, but that's where it all started for me. So, I go back there as often as I can [laughs]. VICTORIA: So, how do you talk to founders or people who are thinking about building products? How do you talk to them about design and give them a where to get started approach? TRENT: I don't know that I ever specifically talk about design or even maybe, like, engineering or about performance. I talk about all those things, accessibility, et cetera. I try to blur those lines as much as possible. It's maybe an idyllic thing that I've had for years. But going back to the agency days, I'll call them the agency days, but up until, like, you know, 2015, '16, Dave, Reagan, and I ran an agency called Paravel. And by nature, the three of us are some sort of a hybrid between a designer, maybe, like, a front-end developer. You know, Dave's more of an engineer now. But we've all been very careful to make sure that we're generalists, which I don't know that that, like, career-wise that, might pay off long term, but I cannot work on the web any other way or talk about the web any other way. I've always felt like, I mean, there was the old, which we don't have to get into, gosh, but the debate on should designers code? But I think the essence of that is really, like, should we be familiar with the materials we're working on? So, anytime I start to talk about designing for the web or designing a product, you want to make sure everyone has a clear understanding of the environment that they're working with. So, is it, you know, a website? And is performance important? And is our site that we're redesigning is it performant now? Is it fast or slow? Or am I a designer who only cares, and this is a thing that I have to fight inside of myself all the time? So, I'm not trash-talking anybody, but, like, do I want to load a bunch of fonts and cool images, and is that my KPI is how interesting and engaging the visuals are? Which is a great one to have, but it also, you know, while you're talking about design, you have to consider all of these other things that can define quality for an experience. Maybe those other things don't matter as much from one person to the next. But the more they are in front of me, the more they evolve the way I perceive what I work on. And so, I try to never really isolate any kind of aspect into maybe, like, a stage or a sprint that we're doing as a team. It's just sort of this holistic kind of hippie vibey way to look at sites, but I want to make sure that it's always, like, we're always starting from a very, very broad place that involves every aspect, and all team members and stuff like that. VICTORIA: Well, I love that because I try to think about that in the same way from the other end, like, on the operations perspective when you're talking about site performance. And, you know, like, is the site responding fast enough? And it comes back to the question of, like, well, what is the experience, expectations of the user? And what's important to get done on the site? [laughs] And having those conversations, like, early on and integrating all these different teams from the design and development and operation side to have that conversation so everyone knows what is the goal of the site and what is the important aspects of the user experience that the system needs to be able to support? So, I also like that you said that it's like, well, should you be familiar with the materials that you're using? [laughs] Thought that that was really cool. Like, I'm actually...my husband and I are renovating our home. And I'm talking about why we should invest in design [laughs], and part of it's because there's things to know about the materials. Like, if you're choosing a floor for your house, like, the designers will know, like, what's the durable ones? What's the ones that are going to fit your need, and your cost, and your budget? And so, like, they don't necessarily need to be a person who's going to lay the floors [laughs], but they need to know what to expect out of what you decide to use. TRENT: Yeah, it's, like, all of these constraints. And so, being familiar with the real-world implications of the decisions we make, you know, inform that. So, yeah, I mean, I think that's pretty similar, too. It's like, well, you need this floor because it's more durable in this climate or whatever, same thing for, you know, the websites that we build. It's all contingent upon the outcomes that, hopefully, we can mutually agree on. You know, there's kind of a general sense of, like, performance is important, and accessibility is paramount and extremely important. But then there's some nuance to that as you get into some smaller decisions. So, having these kinds of discussions early on and frequently and almost...the way I like to think about it is rather than, like, a check-in where we say, "Okay, this is it," but having a place where we can all look to check in and find information and share information that's maybe not so fast. One thing I like to think about is things get lost in chats and maybe even tickets, so as you're closing tickets and opening tickets. There's a bug. I solved it. It's gone. Can you send me this logo? Can we tweak this? These micro changes they open and close very, very quickly. And so, there's this firehose that happens. And so, I find that having a place separate from that for discussing these things and remembering these things, and referencing these things while we are in our code editors or inside of our Figma or any kind of design tool that we use to sort of cross-reference and simmer on things as we think about the decisions that we have to make, as opposed to just knocking them out super quick, always being mindful of those constraints. And again, yeah, the [chuckles] materials we're working with, whether it's just, you know, HTML, CSS, and JavaScript or whatever, but all of those things. It's good to be mindful of that. WILL: I know you said that you've been in design for a while, and so I love just picking the brain of someone who's been into it a while and see how far we've come from, especially just the 2000s. So, in your opinion, with design, how do you feel about where we've come since the beginning of tech to where we're at now and, also, I guess, where we're going with the design? TRENT: Yeah. So, I guess I can really just frame...this is going to help me remember just framing [laughs] where we were. I started off on Homestead, which is sort of like GeoCities. I was in college. I graduated, and I think it was 2001, maybe 2000, anyways. And it was mainly just taking images...I didn't even have Photoshop at this point. And you realize you could, like, tile a background for a build your own website. Homestead was one of those kinds of deals. And I thought that was very interesting. So, I had this cheap digital camera. It took a lot of cords to figure out how to, like, port that onto this old, crappy Hewlett Packard computer that was, like, a hand-me-down. Fast forward a couple of years, I had graduated, did not study design, so I'm all kind of self-taught or just taught by the web, the peers, the information that has been shared and been influenced by. But Dreamweaver was out, and Macromedia was huge, and I loved Fireworks. And so, Dave Rupert, I paid him $80 to teach me HTML [laughs], and so we've been together ever since. This is right out of college. And so, the tools that we used there were pretty rudimentary, but Fireworks was rad. Like, it was kind of web-based. It felt like it made more sense. I love Photoshop, and that's kind of, like, a primary graphic design tool that I still use to this day. But early on, it just felt like everything was so harshly limited. So, if you had any kind of idea that you wanted to execute that you could just draw on a piece of paper, mock it up in Photoshop, the amount of work that you had to do to get that to happen was either extremely high, or it was just impossible. And then, if it was impossible, I bet you can guess what we did. We went to Flash, and we made, like, a crappy video of a web page that was not accessible and really hard to use. I was heavy into Flash for, like, two or three years until kind of, as I had been warned by Dave that, you know, HTML and CSS are going to be the way the web works. But when I came back to that, there was this wonderful time where it felt like we were charting out every single...it was just new territory. It's like we had come to this other planet or this other world, and everything that needed to be done, we had to figure out how, like, getting web fonts onto pages, rounding borders. I mean, getting that done aside from slicing images in Fireworks felt like this new monumental discovery that changed the lives of many. Maybe it did, maybe it didn't, but in my world, it felt like that. And so, early on, you can look back on it and go, gosh, everything was a pain in the ass, like, living with all of these limitations. But for me, I do look back at it like that, but I also look back on it as this wonderful time where we were building the web that we're working on now. So, all these things that make designing easier and quicker come with some sort of a, you know, an evolution of your perception, and [inaudible 13:14] fond memories of work along the way. For me, it's sort of I've just always sort of been around working on the web and watching design evolve, and every little step maybe feels like a tiny one or a large one. But these days, it just seems like, oh, this is exactly how it should have [laughs] always been, like, convenient grids and convenient box shadow and all that kind of stuff. But yeah, it's been nice to sort of grow up only being a web designer. Like, I mean, I've done graphic design. I've done brochures and, print design, and logo design for sure. But, I have always been anchored to and centered around web design and thinking about things in the context of how they will be applied to the web first and foremost. MID-ROLL AD: Are you an entrepreneur or start-up founder looking to gain confidence in the way forward for your idea? At thoughtbot, we know you're tight on time and investment, which is why we've created targeted 1-hour remote workshops to help you develop a concrete plan for your product's next steps. Over four interactive sessions, we work with you on research, product design sprint, critical path, and presentation prep so that you and your team are better equipped with the skills and knowledge for success. Find out how we can help you move the needle at tbot.io/entrepreneurs. VICTORIA: So, what was the turning point for you that led you to found Luro? How did it all get started? TRENT: With Paravel, the agency days, we had a lot of fun. I think, for us, our big agency spike was when responsive web design came out. Ethan coined the term. There was a lot of people on the web, you know, a lot of agencies or a lot of teams, a lot of companies that needed to pivot into that. And so, we found this great working relationship with companies where we would come in and sort of had a little bit more practice just because we got in early learning kind of how to do that well, I think. And it was a sort of we're going to redesign a page, a homepage perhaps, or, like, a marketing page. You'll do that project; three to six months go by. And then the next thing turns into, well, we have this giant network of e-commerce stores. We have this giant network of pages with, like, download centers and support documents. And now, we need to make everything responsive, and it can be anything. We need to make everything accessible. We need to make everything performant. We need to update the brand on everything. And I don't think we're alone in this. I think this is the beginning of the greater design system discussion as it applies to the web. Obviously, design systems predate the web; design systems pre-date, like, 2012 or '13 or whenever we got into it. But projects started to migrate from, "Hey, can you design this really amazing, responsive marketing page," to "We have a system, and we need you to solve these problems." We love working on those problems. I still do to this day. But the reason why we switched from kind of being a, you know, individual contributor-type agency consultant type roles to building a SaaS product was because we were realizing that things got complicated...is a very, like, boring way to say it. But to get a little deeper, it was, we would see things not ship. So, like, our morale went down. The teams that we were working with morale kind of went down. And as I was digging into why things weren't shipping...and when I mean ship, I think, like, pages would ship, of course. Like, here's a page. It just needs to be built, somebody decided, or a new feature needs to be built. Of course, those went out. But the idea of, is our design system or the system that we're designing launched? Is it applied? Is it fully adopted? Is it partially adopted? It never felt like the amount of traction that we were promising or that we were being asked for. And I don't mean we, as in just the three of us, but the entire team or the entire organization who, in many cases, all were bought into the idea of design systems. So, what we found was, when things got real, and we had to give up things, and we had to work on things and prioritize things, it became much more difficult to work in that capacity, probably partially because of the cross-discipline nature of those things. So, as opposed to what I consider maybe a miserable way to work in many cases, is the classic; here's my Photoshop comp. And I have a red line document JPEG that I will give you, whatever engineer I'm working with, or it's myself, and I'm just giving myself a red line document, but you're just going through and trying to make those things match. And that is sort of not fun for the team because now we're just sort of chiseling each other and sort of, like, going through and critiquing our work over and over versus really kind of in the spirit of prototyping and inventing together. I find that products are diminished when you do that. So, as you try to get into this design system part, it requires a lot more insight into what everyone around us is doing, kind of, as I was saying at the beginning, how to have this cross-discipline view of what we are actually working on. And that view is what we thought, and we still believe in many cases, is absolutely missing. So, you can spin up a design system. And Luro is not the only design system tool. Of course, you can spin up your own. And what I mean by that is, like...I'm maybe going to answer, like, three questions in one. Maybe you haven't even asked them yet. But just to kind of frame this, if you ask anyone what a design system is, it might be a different answer. It might be these are my Figma components that I've created and I've shared out, and there's a public link. You know, an engineer might say, "Well, it's the GitHub repo of components that I'm actually using." So, the design is helpful as documentation. But the design system is the code, or the design system is the actual...or the actual components that are live that users see, which I would argue probably is the most accurate, just because we're talking about user experience impacting whatever business objectives we may have. So, those components need to make their way into live sites or products. So, finding out what that answer is, what's the source of truth? What is our design system? What are our components? What are our standards? You have to have multiple sources for that, just because there's multiple people with multiple opinions and multiple measures of success involved in those. And all of those opinions and measures of success, I would say, are valid. So, accounting for those and kind of crossing the streams, if you will, in one sort of central UI, we believed was crucial enough that we should jump out of the agency days and into a product-building scenario. VICTORIA: That's really interesting. So, you saw this pattern in the delivery of your work as an agency that made you want to build a solution to create better outcomes for a potentially exponential number of clients, right? [chuckles] TRENT: Yeah, hopefully. I think that working on how you work together as a team is vitally important, and if you can find the right environment, then the actual product will benefit. I mean, and I'm not even just thinking about these maybe soft things like, oh yeah, if engineers and designers can work together, the typography will be a little bit better, and the site will feel a little bit more cohesive, and it'll be maybe a little bit easier to digest. I believe that. But I also believe that there are people in organizations doing research, financial analysis, customer analysis, A/B testing, you know, all sorts of work that contributes to the decisions that we make about our sites and products that sort of just gets lost in the shuffle, in the firehose of the day to day. So, having something that takes not only a, I guess, what you could classify as the what for a design system, it could be the design of a component. Maybe it's actually even, too, as well, the code that makes up that component. But then there's this giant why. Why does the button look the way that it does? Why does a card have a border around it? Why? Why? Why? Why? Why? These things maybe they come up during meetings. Maybe there's something that, as a designer or an engineer, I found maybe on the company's shared OneDrive or somebody mentioned in passing. Those things are vitally important, and they need to be, again, back to the morale and perception evolving; they need to be accessible to everyone. But it's a needle-in-a haystack situation. It's funny. We would consult. And one of my favorite stories is we were building this prototype. We were hired to build a prototype for a startup in Austin. They were on a big, open floor-plan office with the glass meeting rooms. And we were showing off our prototype, and we just felt really clever and witty about the way we were going to solve this and the pages that we were going to build. And who is a friend now, a person named Angela walks by, and she's like, "What are you working on?" And we told her what it was. And she says, "Oh, wow, you know, six months before you started contracting with the startup, we did this all, and we've user-tested it. Everybody's been reorged, and nobody remembers. But I have this PowerPoint I can send you, and it will show you the results. Some of these things you're doing are probably going to be great. The other things you should absolutely not be repeating these mistakes." And I thought about how likely it was that she walked by and happened to see that through the window and happened to look on the sharp television on the wall. And it's probably not very likely, and as we become, you know, we're remote and working remote the likelihood of those things happening maybe goes down. The idea of building a product that increases the likelihood or almost makes it seamless that you can find information relevant to what you were working on, even if you're new to that project or you haven't worked on it for a long time, is very, very key. So, within Luro, you can build a design system. You can add your styles. You can add your components, configure your tokens, and do all that, but you can also integrate those things that I was mentioning: prototyping, research, and testing. We also do an accessibility and performance through Lighthouse and give you metrics there. All of those things are associated to the pages that your site is comprised of. They're associated to the components that you use to build everything. So, we're sort of crossing the streams here. So, if you're going into imagine a button component and you're like, okay, the border-radius is four pixels. The type size is 16 pixels, and here's how you code it. We're putting in an actual button. The class is dot btn. That's all great. It's helping us build the button. But if you are asked by leadership or anyone, "Why did you decide this?" Or "What is the impact of design?" Or "What is the impact of the product team on our bottom line? How are you moving the needle? How are you helping us as an organization achieve?" The answer isn't, "Well, we made the border four pixels just like the design [chuckles] said." That's great. Good job. But I think having all of this information associated with design and associated with engineering not only makes us more informed as contributors to teams but it helps us to articulate the value of what we do on the daily in a much more broad organizational sense. So, you can say, "Well, we user-tested this, and we realized that if we took out these form elements from a signup flow, we get more signups by having fewer steps. And so we removed a step. We user-tested it before and after, and signups went up 30%." That's a much cooler answer than, "Well, our design system helps us be consistent," even though we know that that is vitally important, and it makes our app or our site feel much more cohesive, and it contributes to that sign up metric or a sales metric just as much. But having this data and associating it with a component so it's not something that you have to sort of...I guess it almost sounds subjective if you bring it up and say, "Well, we're moving faster, and we're selling more stuff." That's not great. But if you can link and say, "Well, here's a PowerPoint before," or "Here's a summary of a user test before and after. Here's real numbers," it helps you to portray yourself as the designer or engineer or product team member who thinks very deeply about these things, and it helps you to accurately portray yourself in that way. So, I went on a real tangent, but actually just there, I think I just was describing sort of the nuts and bolts of why we built Luro to not only be a design system tool but, like, what we kind of also call a product development tool, a product development system. So, it's extending the idea of design systems to the practice of building a product with an entire organization. WILL: That's really, really cool, and you did a great job explaining it. I'm excited to see it and see where it's going. I felt like a lot of what you were saying was the why you're doing stuff, why you chose, you know, X, Y, Z. Is that where the analytics and the tracking portion of Luro comes into play? TRENT: Yeah. I think that one thing we heard a lot from agencies or even just teams within an organization that are working on design systems is back to that articulating the value of maybe a design system or articulating the value of the work that we do as designers or product builders and similar to we've done a user test and these are the results, and sales or signups, or whatever the case may be, have improved. I think one of the key metrics for a design system is, is the component adopted? There are other ones, and people will mention those, things like, is it helping a team be quicker? So, if there's a design system team, and then there's multiple product teams within an organization, and they all want to work together, and they want to be able to take the components that they need and build their ideas quicker, prototype quicker, that's a great metric as well. But one that we find vitally important is, are the components live to users? And so, being able to track that has a lot of value. One, obviously, is that communicating that to the greater organization, saying, "You know, we've spun up a design system team. The card component is on 49% of pages. The button is on 100% of pages." And then if you're trying to be more tactical about how to improve the product or even just track down, you know, which components or which pages or which experiences aren't, I guess, consistent with the design system, you can say, well, "There's 49%, and there's 51% of pages that may or may not have the card component." And so, you can go find outdated components if you're trying to phase new ones in, and all of those sorts of things as well. So, the metrics are sort of great from a thematic sense, saying, this is the value that our design system is, you know, affording us as a business and the users are experiencing while they're using our app or our site. But then, also, you can drill down into these metrics and see, okay, the button is appearing here. I can click into pages and see views where it's being used on the page level and see, is it being used properly? Those kinds of things. You can track legacy components as well, so, for example, if we've rebranded the site that we all work on together and our old button was, like, dot button and the new button is dot BTN or however we would want to class those things. And you can use classes. You can use data attributes, all those kinds of things. But I would say we can track legacy along that. So, if your goal is to completely adopt the new design system across the entire network and products within six months or whatever the case may be, you know, month over month, week over week, you can check our, you know, line graphs and see, hopefully, the legacy occurrences of that going down over time. So, if, like, the button is being used less and less and then the dot BTN is being used more and more, you can see those sort of swap places. And so, what we have found is talking about things in sort of an objective or fuzzy way, saying, well, we're trying to ship this, and we're doing these inventories, and we're going through all the pages. And we're clicking around trying to find old things, or we're redesigning pages. But it's very, very difficult. This is just an instant quantification of where our components are manifesting in the product. So, what we do is, with Luro, you can give us...whether it's behind an authentication layer or not, we crawl web pages, first and foremost. So, you can give us a site. And this is all optional. You can spin out a design system without this. But we crawl the site, and then we will go ahead and do performance and accessibility scores for there. So, that's one way to itemize work, where you can just say, well, as an agency, we're going to work with this company, and we want to show them, like, the starting point and expose weak points on where we might be paying a lot of attention to. In the design or engineering phase, we need to improve the speed here. We have accessibility violations we need to think about, all that kind of stuff. And then, once you crawl those, you can add your design system, and then you can cross-reference those, and I kind of mentioned that. You can use CSS classes to do that. And so, you'd enter in dot BTN for button. We've already crawled your pages. And so, we can tell you every time that that class appears inside of any page inside of the network. So, it's this very, like, two-minute way to get a wealth of information that's shared and communicated with...the entire organization will benefit. Like I said, like, leadership they can get a sense of how the design system is being used and adopted, but also, the active teams working on things so that they can go find outliers and work on replacing those. VICTORIA: It's been over a year in your journey with Luro. What challenges do you see on the horizon? TRENT: I still think it is an adoption challenge. I think that, you know, one thing that we found is that a lot of teams, and this is going back to our agency days, but I sort of sort of still see this happening now is that building the design system, you know, let me separate these two things. I think designing components and building the design system in the sense of picking styles, and choosing fonts, and iterating upon something like a search box or, a footer, or a modal that's a lot of work. That's just design and product design and product development in general. But the act of, you know, creating the design system, maybe it's the documentation site, or however, we're communicating these standards across the organization. That part, to me, it's always kind of taken too much time and effort. And to be really candid, the amount of budget that's being allocated for those tasks is less. So, we're having a lot of users who are saying, "Well, I wasn't in charge of a design system. We had a team for that. We don't anymore. And now I'm responsible for it," or "The team's been combined, and I'm working on, like, three things at once." And so, something that's very, very crucial to us at Luro is to help with the struggle of spinning up a design system. For us, I fully believe that there are design systems that can be fully custom available to the public and need to have, you know, every page and view needs to be unique unto itself. But for Luro, the starting place that we get you with, you know, you can link in your Storybook. You can link in Figma components. You can add components manually and all those sorts of things. Where we can get you in a few minutes is really close. And then, if you started to fold in, you know, the idea of performance, accessibility, and then all of the other insights that you can then integrate, so if you're doing A/B testing or user testing and doing research, and you want to make sure that that's all involved inside of your design system, then it becomes a really attractive option. So, I think that decreasing the time it takes to get started and to spin up a design system is the number one thing we see people struggling with and the number one thing we want to bring. I kind of like to compare it to services like Netlify. Like, I remember I used to have to set up servers to demo things for clients, and it would take an hour, and I don't know what I'm doing. And I would break stuff, and they would have to help me fix it. So, then I'm bothering him. And then, now I'm just, you know, will either link to a CodePen or drag and drop a deployed URL from something like Netlify. And it's this amazing, almost like it feels like deploying is just as difficult as, like, sketching something out on a napkin. We want spinning up a design system to kind of feel that way so it's not so precious. You're not worried about...it is just easy to get started. And so, we're kind of integrating all these other tools that you use to make that easier and quicker because if you do have other things that you're working on and you need to move beyond that so that you can focus on prototyping, or designing, and building the actual components, you can do that. And you have that option as opposed to having to be mired in some of these other details. VICTORIA: It seems like change management and integrating change into larger organizations is always the biggest challenge [laughs], even for great innovations. And I'm curious: what types of people or groups have you found are quick to adopt this new method and really the right group for you to center your message on? TRENT: Yeah, it is...I was joking, I think, maybe before the podcast started, but it's, like, very ambitious because it's easy, I think, to say, "This tool is for designers. And if you're a designer, you can integrate your Figma, and then you'll have your components published to your team so that they can use them." And that's absolutely true. Like, if you're a designer, Luro is for you. If you're an engineer and you have just received components, and you need a way to document that and show your coded version alongside the design version and be able to collaborate with people in that sense, it is absolutely for you as well. So, you can see how it's almost like you almost have to frame Luro for individuals across the organization. So, it's one of those deals where...and we've kind of experimented with this with the marketing. And the way we've discussed it, we talked to lots of, you know, leadership, heads of product, CMOs, even CTOs, things like that. And so, it's like, if you're trying to get your entire organization to work better, to ship, you know, more effectively, then Luro is the tool for that as well because we're getting into knowledge retention via uploading. Like, my favorite story there is if you're an A/B tester, probably, and this is what we've experienced, is you run these tests. A lot of time and effort goes into building the prototypes for the test, whether that's you or an engineering team that's doing those things. This is one of the things we used to do as an agency. We would be brought on to prototype something totally new. We would test that alongside the existing experience. And an A/B tester, we'd work with them, and they would create, like, a PowerPoint or something that would explain the pros and cons and what should happen next and summarize the test. And that would live on that person's hard drive, whether it's on their computer or, like, a Dropbox or a OneDrive account. And no one ever thought about it ever again. You would just move on to the next test. But the amount of money spent on us to build the prototype and the amount of money spent on the SaaS to spin up the, like, A/B testing environment and all of these things, and then the time spent on the A/B tester to analyze the results and generate a PowerPoint it's not nothing. And so, one of the things that we find pretty appealing for leadership within Luro is the idea of integrating all of these tools and all this work that you do in mapping them to components so that when you pull up, for example, a button component, you'll see all the user tests that have been added over any period of time. So, if you were a new hire and you're trying to onboard, you can go interview everybody in the organization and ask them about the history of a button or a card component or the history of a sign-up page. But then, also, in a self-service way, you can just click into Luro, click a button, click a card, click to the sign-up page, any of those things, and find all that stuff I was mentioning earlier, whether it's a test, or research, or prototyping, or any kind of documents that have been written. These aren't the arguments that Dave or I might have around the actual border-radius value. Those are small things that probably should be lost in the firehose. But if we have learned an outline button with a stroke is performing way better than a solid-filled button or vice versa, that's important information that doesn't need to disappear in six weeks. So, that's the other kind of metric there is explaining kind of the holistic version, telling the holistic story of Luro to those types. And so, yeah, navigating that and trying to get, like, buy-in on a broad level is kind of what we're working on these days now. WILL: Sweet. So, I actually really like how it's almost like version control. You can see the history of what you've been working on. And I really like that because so many times...you're correct. When I go to Figma or anything, I'm like, why are we doing it this way? Oh, we made these decisions. Maybe in comments, you can kind of do it, but I think maybe that's the only place you can see the version control. So, I like that feature. Like you said, you can see the history of why you did something like that. TRENT: Yeah. And think about that, so if I am a front-end engineer and I receive a design and everyone thinks that, why are we doing it this way? I would hate to code something...I can do it. It's my job. But if I don't understand why, my feeling about work and maybe the quality of my work goes down, you know what I mean? I guess what I'm trying to say is, like, feeling like you understand, and you're lockstep with the entire team, and you understand what the goal is...what are we trying to do? What are we trying to achieve? Like, what have we reviewed that has made us believe this? And if you don't have that information, or if I don't have that information, like, there's some traction within the team, whether it's actual momentum forward and the amount of tickets that are being closed, or just the spirit of what we're doing, that the product is going to be diminished. These are all these little things that add up, up, up, up, up over time. So, being able to show this information to be able to access this information kind of passively. So, for example, if you got VS Code open and Luro open and you can see here's the user test from six weeks ago that shows us why we went with option B, you'll say, "Okay, cool. Even better." You know, you can review those things way before you get things handed to you. You know, it's much more kind of this utopian vision of an open, collaborative deal. And the way I would say that is it's, you know, we all kind of hand things off. So, of course, like, there's some version, even if it's like a micro waterfall that happens on a daily basis. We're all doing that. Like, somebody needs to be done with something to hand it off to something else, so we're not all up in each other's space all the time. But one thing that we like about Luro, whether we use Teams, or Slack, or whatever, it's not a real-time thing where I have to say, "Stop, look what I'm doing [laughs]. Come over here and look because I need you to know this." You can get notifications from Luro, but it's not something that is a context-switching demand type of a situation. So, the idea is if you're like, I'm wondering what's going on. I know this is coming up. I'd like to review. Or I could let you know and tell you, and just on your own time, you can go see this. So, separate from, like, the firehose of tickets and chats, you can see the actual product evolving and some of these, like, key milestone decisions on your own time and review them. And if they've happened before you even started on the project, then you can do that as well. WILL: I think that's probably where the breakdown between developers and designers that collab that's where it probably breaks down, whenever you're trying to get your tickets out as a developer. And then there's a change while you're working on it, and it's a complicated change, but you're still responsible for trying to get that ticket out in time. So, I think, like, what you're saying, you can get it beforehand. So, it sounds like, to me, Luro would be a huge help because you have to have developers and designers working together; if you don't, you're just in trouble in general. But anything that can help the relationship between the two I think, is amazing, and that's what I'm hearing whenever you're talking about Luro. It helps. It benefits that relationship. TRENT: Yeah, that even makes me think a little bit about the ongoing collaboration aspect. So, it's like, if something is shipped...or maybe let's go the agency scenario here. You've launched a site. You've launched a product. How do we know how it's performing? Of course, you'll have everybody...they're going to have analytics, and we'll be talking about that. And are signups up or down? But Luro will run tests. It'll continue to run component analytics. So, you can sense whether, like, somebody is changing a component. Or, you know, is the fully adopted design system not being utilized or being utilized less or more over time? But then, also, we're running, again, performance and accessibility metrics. So, we've seen it where we've shipped a product for a client. You know, we've had Luro running. We've sort of used that as our hub to collaborate over time. And then we'll notice that there's a giant performance spike and that, like, the page speed has gone way down. And we itemize issues and can point you to exactly the page that it's happening on and give you some insight into that. Of course, you could go through after you've worked with the client and run Lighthouse on every single page in your own time for fun, but that's not reality or fun. So, you'll get this information. And so, you almost...before we were telling people who were using Luro, we were kind of using it ourselves just to help ourselves do a better job. About a month into a project, we were able to email a customer, a former client, and say, "Hey, site's looking great. Amazing to see this. There's a 3-megabyte, 50-pixel avatar. Someone uploaded a giant image. It displays as 50 pixels. But somebody must have uploaded the full one to your homepage, and your page speed score tanked." They're like, "Oh, wow, they must [laughs] be monitoring us and checking in on us every day." We love them dearly, but we were not doing that. We were using Luro off to the side. So, there is this other aspect of just sort of monitoring and making sure things stay, you know, as they were or better once we ship things and move forward to the next. VICTORIA: That's really interesting. And I'm excited to explore more on my own about Luro. As we're coming towards the end of our time today, I wanted to give you one last chance to shout out anything else that you would like to promote today. TRENT: Oh, that's it [laughs], luroapp.com, you know, that's the main thing. Check out component analytics. We have a YouTube channel, and I would say that's probably the easiest, a lot of effort, even though the videos maybe I'd give myself an A-minus or a solid A, not an A-plus on video production. I'm trying to get better. But explaining just, like, how to set things up. There's, like, a one-minute, like, what is all this? So, if you want to see all the things that I've been trying to describe, hopefully well on the podcast [chuckles], you can see that really well. So, I'd say Luro App and then the YouTube channel. We've got, like, five, six videos or so that really kind of help get you into maybe what your use case would be and to show you how easily things are set up. VICTORIA: Great. Thank you so much for joining us today, Trent, and for sharing about your story and about the product that you've been building. TRENT: Yeah. Thank you for having me. This has been great fun. VICTORIA: You can subscribe to the show and find notes along with a complete transcript for this episode at giantrobots.fm. If you have questions or comments, email us at hosts@giantrobots.fm. And you can find me on Twitter @victori_ousg. WILL: And you can find me on Twitter @will23larry. This podcast is brought to you by thoughtbot and produced and edited by Mandy Moore. Thanks for listening. See you next time. AD: Did you know thoughtbot has a referral program? If you introduce us to someone looking for a design or development partner, we will compensate you if they decide to work with us. More info on our website at: tbot.io/referral. Or you can email us at referrals@thoughtbot.com with any questions.

Today's guest is Gianni Giacomelli, Former Senior Advisor for Innovation at Genpact. Gianni currently serves as Head of Design Innovation at the Collective Intelligence Design Lab at MIT. He served as Chief Innovation Officer at Genpact from 2016 to 2022, when he stepped down to found Supermind. Design, an innovation advisory firm that helps organizations engaged in environmental and social transformation harness the power of AI tools. Gianni joins us on today's program for a sober yet optimistic conversation with Emerj CEO and Head of Research Daniel Faggella on the real-world implications for generative AI, the massive changes it will bring about for multiple industries in the near future, and what business leaders need to know to thrive in the new landscape. For more relevant insights on these topics, business leaders should also explore Genpact's recent white paper titled ‘Break Boundaries with Generative AI.' This episode is sponsored by Genpact. Learn how brands work with Emerj and other Emerj Media options at emerj.com/ad1.

In this episode of the Nodes of Design Podcast, we were honored to have Karen Korellis Reuther, a design luminary with over 20 plus years of experience Karen Korellis Reuther is an experienced creative executive, and a Design Critic in architecture at Harvard's Graduate School of Design. From 2021-2022 she was aSenior Fellow at Harvard's Advanced Leadership Initiative (ALI). Before ALI she was Vice President of Creative Direction + Future at Reebok and Global Creative Director at NIKE for twelve years where she developed major product, merchandising, and brandstrategies solidifying NIKE at the top of its industry. Karen is a practicing activist committed to “Inclusion by Design: Ending Gender Bias in Product Design”. Karen received her Bachelor's degree in Industrial Design from Purdue University and herMasters in Business Management from Lesley University. In this episode Karen shared her journey into design, emphasizing curiosity, continuous learning, and resilience as key for beginners. Karen delved into her design process, revealing a behind-the-scenes look at creating new collections, where balancing innovation with practicality is crucial. She highlighted the necessity of balancing form and function, especially when designing products that are both aesthetically pleasing and performance-oriented. Facing challenges head-on, Karen recounted overcoming obstacles through collaboration and a solution-focused approach keeping customer at the center Discussing the impact of fast fashion, Karen voiced concerns over sustainability and envisioned a future where emerging technologies and AI play pivotal roles in creating personalized, sustainable fashion. We concluded the podcast with Karen recommending three books for design enthusiasts and naming her biggest inspirations in the design space. Her insights provide a treasure trove of inspiration and guidance for anyone looking to navigate the ever-evolving landscape of design. Thank you for listening to this episode of Nodes of Design. We hope you enjoy the Nodes of Design Podcast on your favourite podcast platforms- Apple Podcast, Spotify, Google Podcasts, Amazon Music, and many more. If this episode helped you understand and learn something new, please share and join the knowledge-sharing community Spreadknowledge. This podcast aims to make design education accessible to all. Nodes of Design is a non-profit and self-sponsored initiative by Tejj. Keywords: Footwear Design, Apparel Design, Design Innovation, Fashion and Function, Future of Fashion, Industry Insights, Design Challenges

In the second installment of our series, we delve deeper into the actual practices of dealer design incentives.Join us as we speak with Brent Matthews, President of Price Modern, who explains the rationale behind introducing designer incentives in their organization.We'll also engage with two design leaders who take distinctly different approaches to incentives. Joining us are Julia Machado, a familiar voice on The Design Pop, who collaborated with Brent on these incentives, and Kim Melka from Duet Resource Group, bringing a fresh perspective.To cap off the episode, I'll break down the findings from our online survey about design incentives used by both manufacturers and dealers. This episode is packed with real-world insights that are sure to enlighten you.Get the Incentives Report hereThe Design Pop is an Imagine a Place Production (presented by OFS)Connect with Alexandra on LinkedInFollow The Design Pop on LinkedInLearn more about Alexandra Tseffos and The Design Pop

Thoughtful and creative design can change the world, from the products we use every day to innovative and climate-resilient buildings, to entire cities that prioritize the health and vitality of the people who live in them. Our guest today is Dr. Ellen Bassett, the John Portman Dean of the College of Design at Georgia Tech, where such innovation is taking place on a daily basis. Ellen's background lies in urban planning with areas of expertise in land use planning and law, sustainability, health and the built environment, and international development particularly in the Global South. In this interview, Monica and Jennifer catch up with Ellen about where her interest in urban planning began, the importance of using biophilic design across disciplines, and the impactful years she spent abroad working in Kenya. Show NotesAbout Ellen BassettEllen Bassett ResearchGeorgia Tech College of DesignConversations with Cabrera: Ellen Bassett (YouTube)Solar Decathlon SimTrigate Design Lab, School of Architecture, Georgia TechFront Lawns, Biodiversity, and Bylaws with Nina Marie Lister (Biophilic Solutions)Atlanta BeltlineKey Words: Georgia Tech, Design, College of Design, Urban Planning, Land Use, Land Planning, Land Law, Kenya, Africa, Architecture, Built Environment, Urban Sprawl, Atlanta, Nature, Nature Based Solutions, Climate Change, Climate Resilience, Biophilia, Biophilic Design 

Fast-track your career with our 12-week training programme: https://www.thisishcd.com/coaching-mentoring-for-innovators-change-makers In this episode, Gerry interviews Munib Karavdic, a design innovation expert. Munib shares insights into his work at Wave Design, an Australian design innovation company, where the focus is on helping businesses design new programs to address pain points or improve user experiences. He emphasizes the importance of elevating the mindset of people involved in design projects and building capabilities within organizations. Munib discusses the challenges of intrapreneurship, drawing on Steve Jobs' experience at Apple and Pixar. He highlights the need for entrepreneurs within large organizations to navigate stakeholders, inspire teams, and develop a different set of skills compared to startup entrepreneurs. The conversation delves into the value of encouraging entrepreneurship in all organizations and the necessity of having a strategy in place to align innovation efforts with overall goals. Later in the episode, Munib introduces "WaveAssess," a tool developed during his time at AMP, aimed at assessing an organization's innovation and design maturity. He discusses the importance of problem framing to achieve alignment and shares a practical trick involving visual designers to facilitate discussions around solutions. The episode provides valuable insights into the challenges and strategies involved in driving design innovation within corporate settings. linkedin.com/in/humancentreddesign

This episode features an informative and inspiring conversation with Larry Herzog, a Design Scholar-in-Residence at the UC San Diego Design Lab, and a lecturer in the Department of Urban Studies and Planning at UCSD. Larry is also a writer and Professor Emeritus of City Planning in the School of Public Affairs at San Diego State University. Larry is the author or editor of 11 books on urban planning, design, and cross-border development. In the episode, Larry talks about San Diego and Tijuana as a shared ecosystem, the obstacles that still prove to be challenging in urban planning, and ideas to make border crossing a safer and more enjoyable place for all who visit and live in our area.   Timestamps: [3:42] Larry has been involved in various community organizations and initiatives, writing Op-Ed essays and hosting a podcast called Whose City? [4:10] Larry's Whose City? podcast is intended for San Diego residents to feel invested in their community and to provide a platform for debating and discussing important issues affecting the city's future. [6:50] Larry defines the term “transfrontier metropolis” or TFM. [12:05] The San Diego and Tijuana communities are a shared ecosystem and functional system, but there are certain obstacles to urban planning, including different political systems, laws, and power dynamics. [17:18] A few of the highlights from Larry's book, From Aztec to High Tech. [19:45] The connection between food and public space in Tijuana, and how they model their community in a similar way to San Diego. [25:33] Keeping the balance between the expression of local culture and building for tourism. [28:16] The failure of modern suburbs in Mexico throughout the 1990's and 2000's and what we learned. [30:21] Ideas for improving the border crossing experience. [34:10] Why Larry believes border crossing should be like air travel in the United States. [35:27] Larry discusses the World Design Capital in 2024 and the great opportunity we have to showcase San Diego and Tijuana's laboratory for global urbanization.   About C-3   Even before the California Coastal Commission or Environmental Protection Agency existed, Citizens Coordinate for Century 3 (C-3) was the environmental conscience of San Diego. Since that time, in part due to C-3's leadership in education, advocacy, and empowerment, a plethora of organizations have developed throughout San Diego County. These organizations specifically focus on promoting progressive values in architecture, urban design, land-use governance, natural resource management, sustainable economic development, climate change resilience, and social justice. As the field of allies has grown, C-3's role has evolved to provide a platform that promotes creating civic community.   Opportunities for Advocacy and Engagement: C3sandiego.org Larry Herzog Larry Herzog's Books World Design Capital   Quotes: “I think it's really important that academia gets involved in the making of public policy.” — Larry [2:35] “My argument is that we have to break the mold of thinking of the border crossing area, the frontier zone, if you want to call it that, as an institutionalized, militarized space. I think you have to have more of a balance as you're crossing the border.” — Larry [32:50] “I think one of the goals of the World Design Capital is to not just talk about design and not just to have parties and have fun, but to do something that actually lasts.” — Larry [35:05] “The project and the results are only as good as the participants.” — Larry [36:52] “This region is such an important region that the world should know about us, and here they are. They are coming in and recognizing us, and we have this great opportunity to showcase what we can do here and that San Diego / Tijuana is a laboratory for global urbanization.” — Larry [38:24]

We're ending out the month of November with the second part of my conversation with the one and only Phillip J. Clayton. (If you missed the first part of this interview, check it out here.)After sharing his thoughts on brand purpose, we started discussing our experiences with art and education, and he spoke about facing limitations in school due to dyslexia and feeling misunderstood by teachers and other authority figures. Phillip also talked about his experiences working with renowned brands (including PepsiCo), judging creative work, the evolving nature of packaging design, the need for a holistic view of design.Big thanks to Phillip for such a wide-ranging conversation!LinksPJClayton & Co.PJClayton & Co. on InstagramPhillip J. Clayton on LinkedInPhillip J. Clayton on TwitterFor a full transcript of this interview, visit revisionpath.com.==========Donate to Revision PathFor 10 years, Revision Path has been dedicated to showcasing Black designers and creatives from all over the world. In order to keep bringing you the content that you love, we need your support now more than ever.Click or tap here to make either a one-time or monthly donation to help keep Revision Path running strong.Thank you for your support!==========Follow and SubscribeLike this episode? Then subscribe to us on Apple Podcasts, Spotify, or wherever you find your favorite shows. Follow us, and leave us a 5-star rating and a review!You can also follow Revision Path on Instagram and Twitter.==========CreditsRevision Path is brought to you by Lunch, a multidisciplinary creative studio in Atlanta, GA.Executive Producer and Host: Maurice CherryEditor and Audio Engineer: RJ BasilioIntro Voiceover: Music Man DreIntro and Outro Music: Yellow SpeakerTranscripts are provided courtesy of Brevity and Wit.☎️ Call ‪626-603-0310 and leave us a message with your comments on this episode!Thank you for listening!==========Sponsored by Brevity & WitBrevity & Wit is a strategy and design firm committed to designing a more inclusive and equitable world. They are always looking to expand their roster of freelance design consultants in the U.S., particularly brand strategists, copywriters, graphic designers and Web developers.If you know how to deliver excellent creative work reliably, and enjoy the autonomy of a virtual-based, freelance life (with no non-competes), check them out at brevityandwit.com.Brevity & Wit — creative excellence without the grind.==========Sponsored by the School of Visual Arts - BFA Design & BFA AdvertisingThe BFA Design program at the School of Visual Arts consistently produces innovative and acclaimed work that is rooted in a strong foundational understanding of visual communication. It encourages creativity through cutting-edge tools, visionary design techniques, and offers burgeoning creatives a space to find their voice.Students in BFA Advertising are prepared for success in the dynamic advertising industry in a program led by faculty from New York's top ad agencies. Situated at the center of the advertising capital of the world, the program inspires the next generation of creative thinkers and elite professionals to design the future.School of Visual Arts has been a leader in the education of artists, designers and creative professionals for over seven decades. Comprising 7,000 students at its Manhattan campus and more than 41,000 alumni from 128 countries, SVA also represents one of the most influential artistic communities in the world. For information about the College's 30 undergraduate and graduate degree programs, visit sva.edu.

Phillip J. Clayton is a design voice that you need to know. The Kingston-based creative is a strategic advisor, an international design judge, and an expert on branding. We talked for hours about his career and his philosophies on branding and life, so I split this episode into two parts just to make sure nothing got lost. If you're interested in branding, then get ready for a masterclass!Our conversation started off with a check-in on this year, and then Phillip shared his goals about being seen as a facilitator and about tackling complex problems and making a meaningful impact. We also talked about how he started his own company PJClayton & Co., the client-vendor relationship, and Phillip dropped a ton of knowledge about his creative process, brand purpose, and the power of extracting valuable information from conversations. (Kind of like what you're doing with this episode!)Tune in next week for Part 2! Happy Thanksgiving!LinksPJClayton & Co.PJClayton & Co. on InstagramPhillip J. Clayton on LinkedInPhillip J. Clayton on TwitterFor a full transcript of this interview, visit revisionpath.com.==========Donate to Revision PathFor 10 years, Revision Path has been dedicated to showcasing Black designers and creatives from all over the world. In order to keep bringing you the content that you love, we need your support now more than ever.Click or tap here to make either a one-time or monthly donation to help keep Revision Path running strong.Thank you for your support!==========Follow and SubscribeLike this episode? Then subscribe to us on Apple Podcasts, Spotify, or wherever you find your favorite shows. Follow us, and leave us a 5-star rating and a review!You can also follow Revision Path on Instagram and Twitter.==========CreditsRevision Path is brought to you by Lunch, a multidisciplinary creative studio in Atlanta, GA.Executive Producer and Host: Maurice CherryEditor and Audio Engineer: RJ BasilioIntro Voiceover: Music Man DreIntro and Outro Music: Yellow SpeakerTranscripts are provided courtesy of Brevity and Wit.☎️ Call ‪626-603-0310 and leave us a message with your comments on this episode!Thank you for listening!==========Sponsored by Brevity & WitBrevity & Wit is a strategy and design firm committed to designing a more inclusive and equitable world. They are always looking to expand their roster of freelance design consultants in the U.S., particularly brand strategists, copywriters, graphic designers and Web developers.If you know how to deliver excellent creative work reliably, and enjoy the autonomy of a virtual-based, freelance life (with no non-competes), check them out at brevityandwit.com.Brevity & Wit — creative excellence without the grind.==========Sponsored by the School of Visual Arts - BFA Design & BFA AdvertisingThe BFA Design program at the School of Visual Arts consistently produces innovative and acclaimed work that is rooted in a strong foundational understanding of visual communication. It encourages creativity through cutting-edge tools, visionary design techniques, and offers burgeoning creatives a space to find their voice.Students in BFA Advertising are prepared for success in the dynamic advertising industry in a program led by faculty from New York's top ad agencies. Situated at the center of the advertising capital of the world, the program inspires the next generation of creative thinkers and elite professionals to design the future.School of Visual Arts has been a leader in the education of artists, designers and creative professionals for over seven decades. Comprising 7,000 students at its Manhattan campus and more than 41,000 alumni from 128 countries, SVA also represents one of the most influential artistic communities in the world. For information about the College's 30 undergraduate and graduate degree programs, visit sva.edu.

Join us for an inspiring episode as we sit down with Diana Deibel, the Chief Design Officer at Grand Studio, and an AI visionary in the world of design. Explore Diana's groundbreaking insights and innovative approaches that are revolutionizing the design landscape through the integration of artificial intelligence. Gain invaluable perspectives on the dynamic intersection of technology and design in this must-listen podcast conversation. Get on the AI Box Waitlist: https://AIBox.ai/Join our ChatGPT Community: ⁠https://www.facebook.com/groups/739308654562189/⁠Follow me on Twitter: ⁠https://twitter.com/jaeden_ai⁠

At the recent sustainable apparel and textiles conference in New York, Innovation Forum's Toby Webb reflects with Karimah Hudda, founder of illumine.earth, about the discussions over the two days of the event. In particular, they talk about the contrast between food and apparel industry and the continued importance in adopting circular principles. They also discuss the need to maintain balance in regulation and design innovation.

Anuja Patil, risk control product consulting director: ergonomics at CNA Insurance and administrator of ASSP's ergonomics practice specialty, discusses the importance of ergonomics to workers' health and well-being. She also shares steps safety professionals and employers can take to help improve ergonomics at their workplaces.

As a featured event of this year's NYCxDESIGN Festival, this special episodes of the Mic was recorded on May 24th and sponsored by Flamingo. Your host, Debbie Millman – herself one of only five women who have held the title of President Emeritus of the American Institute of Graphic Arts in over 100 years – led a panel of design revolutionaries that included Cher Russo, the Creative Director at Flamingo with previous lead creative roles at Glossier and Estée Lauder; Natasha Jen, an award-winning designer, educator, and partner at Pentagram; and Erica Eden, the founder of Tribe & Citizen, and previously the Global Director of Design Innovation at PepsiCo's Design Center. Tune in to hear their conversation on designing products and creating brands for women, with their bodies and choices in mind.

In this episode of the Design Break podcast, we delve into the age-old debate of working at an agency versus in-house and explore the advantages and considerations of each. Whether you're a design professional looking to make a career move or a student contemplating your future path, this episode offers valuable insights to help you make an informed decision.We kick off the episode by discussing the unique aspects of working at an agency. From the fast-paced environment and diverse range of projects to the opportunity for growth and exposure to different industries, agency life presents exciting challenges and rewards. Our guest speakers, industry experts with experience in renowned design agencies, share their perspectives and provide firsthand accounts of the agency work culture.Next, we shift the spotlight to in-house design roles. We explore the benefits of working within a company or organization, such as having a deeper understanding of the brand, being part of a dedicated team, and having the opportunity to shape the company's visual identity. Our guests share their experiences transitioning from agency to in-house roles and discuss the unique opportunities and challenges that come with working within a specific company.Throughout the episode, we cover important topics like work-life balance, creative freedom, collaboration, career progression, and the impact of these factors on job satisfaction. We provide practical advice and considerations for individuals navigating their design career paths, helping them make an informed choice that aligns with their aspirations and goals.Join us in this insightful conversation as we weigh the pros and cons of agency life versus in-house positions. Whether you're considering a change or simply curious about the differences, this episode will equip you with valuable insights to navigate the dynamic design industry.To stay connected with us and join the conversation, follow us on Twitter @thedesignbreak. We appreciate your support and would love to hear your thoughts on this episode. If you enjoy the show, please leave a rating and review on your favorite podcast platform. Your feedback not only motivates us but also helps others discover our podcast and benefit from the valuable discussions we have.Tune in now and gain a deeper understanding of the agency vs in-house debate, empowering yourself in your design career journey.

Michael Tischer, Director of Design & Innovation at Associated Bank joins us to share how he is creating improved digital customer experiences in a restrictive banking environment. He shares insights about approaching crafting the solutions for the customers leading with the data and the continuous knowledge derived from the customer data. Michael believes that everyone should get the experience they deserve and expect from a digital product. This passion leads him to pay attention to detail and refine the solution he creates to express a positive spirit that goes beyond a great UI and UX to create continued value delivery as a service.

(2:22) - Multi-material 3D printing with a twistThis episode was brought to you by Mouser, our favorite place to get electronics parts for any project, whether it be a hobby at home or a prototype for work. Click HERE to read more about the various additive manufacturing approaches for medical applications that we discussed in this episode.

The pandemic has made us all rethink how we work. Where once millions of people used to travel into work in tall glass buildings in big cities every day, now our idea of the office has come to include the kitchen table or maybe even a coffee shop. Yet despite the temptation to shift permanently to remote working, many organisations say the events of the past few years have actually underlined the importance of offices as spaces that connect people. So what are offices for? We are delving back into the history of the modern office to learn how past designs could help us in the future. Presenter Rajan Datar is joined by three guest experts: Nigel Oseland is an environmental psychologist and consultant at Workplace Unlimited in the UK. He's the author of Beyond the Workplace Zoo: Humanising the Office. Jennifer Kaufmann-Buhler is Associate Professor of Design History at Purdue University in West Lafayette, Indiana. She's the author of Open Plan: A Design History of the American Office. And Agustin Chevez is a workplace researcher and architect, and Adjunct Research Fellow at the Centre for Design Innovation at Swinburne University in Melbourne, Australia. He's the author of The Pilgrim's Guide to the Workplace. Producer: Jo Impey (Photo: Modern coworking interior with an open-plan office lounge and plants; Credit: ExperienceInteriors/Getty Images)

Selected by Fast Company as a Master of Design and one of 50 Most Influential Designers, Kathleen Brandenburg is an internationally recognized founder, thought leader, educator and speaker. Named a “Creative Maverick,” Kathleen has devoted her career to elevating design as a strategic value for business, organizations, and society. An early pioneer and advocate of human-centered design, she was one of the first to link design, business strategy, and innovation when she co-founded IA Collaborative, the global design and innovation consultancy, in 2000. Today, Kathleen is leading the conversation to elevate design's impact even further, championing it as the way solve our world's most urgent problems. A Harvard Visiting Professor of Design for Social Innovation, she is at the forefront of a movement to change the way healthcare understands and applies design, and is the author of Design for Health: The Beginning of a New Dialogue Between Design and Public Health. Kathleen leads work at the forefront of design and business strategy at IA Collaborative. An expert in cross-pollination, she draws from the varied industries IA serves to uncover unexpected connections and opportunities for innovation. She co-developed the company's 7 Elements of Design Innovation™ process that has driven record success for the world's largest brands. Kathleen serves on the Innovation Council at Northwestern University and is on the Board of Directors at IIT Institute of Design.